Neil Goodman
Forum Replies Created
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[Andrew Kimery] “That seems excessively cautious. I’ve worked on many machines that have Avid installed side-by-side with other NLEs. Heck I have FCP Legend, X, PPro, Resolve. Avid and Lightworks installed on my MacPro and it hasn’t imploded yet. 😉
“Same – all the facilities now adays have everything on one box. Some with sperate installs on seperate machines but you can toggle between boxes from one bay. They seem to be getting along fine. Not sure why your facility is having difficulty with it.
Havent had an Avid crash or ISIS hiccup in about a year. FCP X has gone poof on me a few times and PPro is somewhat flakey (audio dropouts mostly) on a few systems ive triedit on.
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[Steve Connor] “[Bill Davis] “Right now, X/Sharestation appears to have successfully trounced the existing “big facilities” players at their own game.
A fact worth noting since that was the exact arena where early nay-sayers hung their biggest criticism.”
I look forward to comments from Avid Unity users on this
“Very cool and detailed article – Glad people are finding the tools that work well for them
But other than the speed and reliability that their new shared storage setup brings to the table – Its still not the same functionality that an Isis/Unity brings to the table.
Hopefully Apple can figure out a way to do it.
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Slide is option shift, lasso and then < or > to nudge by frame or M and ? to nudge by 8 or ten frame increments depending on the frame rate.
would be nice to have a kb shortcut to enter slide mode but its a non issue and fast already enough already.
You dont even need to pick a tool or anything to slip. Just park over a clip and < or > or M or ?
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[Oliver Peters] “To expand on that, some of this depends on the show type. A show I worked on was made up of various studio and field segments, so it got broken down by segments. Then you have individual producers, the exec producers and a post supervisor who supervise everything. You also get consistency in that one person did all the final conforms/color correction (Symphony) and one of the other editors who always built the show opens/teases.
Based on who was available to do what, the editors were always working on each other’s segments. One person might have cut a segment and then a few days later another was cutting it down for time and making changes to address notes. Plus you are working on several different shows at any given time.
In another example, look at feature films. While the majority of films are done by one editor and 2 or more assistants aiding the process, there are a few with 2 and even 3 editors. Sometimes the director does some of the editing with scenes and reels bouncing back and forth between the director and the editor.”
Happens alot with Promos and Trailers too. Multiple editors jumping in on each others cuts because producers only can book so much time with an individual editor. Some people are using the same footage to cut different spots. One persons working on the :30 while another is working on the :15, then the :10,etc. Someone’s doing the launch and another is doing shoulder programming or an episodic.
All in the same project with the same source files and elements. Works like butter.
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I for one love Media Composer, and will be sad to see it go (not that i think itll ever happen). Im not a dinosaur either. At 35 years old – I am considered pretty young in this field. Ive used all the NLES and keep on going to MC
If it does indeed cease to exist – ill move on. NBD.
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[Scott Witthaus] “Having worked with agency creative teams for over two decades, this does not surprise me one bit. Sometimes it’s like “how slow do I go so you can hit your billable hours…?”
“Totally – I’ve had promos for networks go way over 2 weeks for shows waaaaay smaller than GOT.
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The clip connection thing is cool – but anyone who does promo, builds the backplates that same way no matter what NLE. Just lasso all the clips and move them. Not quite as elegant as FCPX clip connections but really its a non issue.
Whats crazy is that he had 2 weeks to do such a simple edit, and if it was in another NLE – would it have taken 4? lol
Just kidding- I get it why a :30 cut can take 2 weeks, notes notes notes. Deal with it all the time,. Have spent more time on simpler things just cause of how many versions, v.o. tones, diff GFX packages etc.
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[Scott Witthaus] “Now, I haven’t had an Avid gig in years, and I try to avoid Premiere, but isn’t this based on what tracks are active? I seem to remember that if you had any audio track selected and added the default transition for a video dissolve, you got a dissolve on the video AND that audio track (which was a pain when you had a boatload of audio tracks). It’s been a while but I seem to remember it that way.”
Yea, thats how it works by design – Wichever track’s you have patched at the moment will be get a dissolve.
Thats something i really like about media composer – if a tracks not patched its basically locked. Cant add edit’s, overwrite, etc, etc.
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Cant tell if Bill is being serious or not.
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[David Roth Weiss] “I’ll be happy to bet any of you here that ten years from now you will not be making a living in the business of post-production. “
Do you think television is going to disappear in ten years? 20 years? I dont. I havent seen any sort of down trend in the field of work I do.
Sure – there are less editors employed here than there were 7 years ago when I started the gig, but not by many and positions that were eliminated were filled by freelancers who make more per hour than I do.
I see job offers every day and new vendors and agencies are sprouting up like weeds. All doing high end work.
Speaking to that – the stuff is looking more hi end and expensive than ever.
I may be in a little bubble out here, but I dont see that bubble bursting anytime soon.