Neil Goodman
Forum Replies Created
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yup Shane and them hit it on the head.
For example i just did a 2 minute sizzle reel. All pro ress 422. About 3 hours of footage and 2 minute final cut. No big deal. AMA linked everything and started to cut. Only noticed slow downs after piling on a bunch of FX.
That worked.
Cut to this morning. New cards on my desk. 3 cam Multicam interview – DSLR all h264 12 minute takes.
Avid starts dropping frames and losing sync about 3 minutes into the first clip from cam a, just watching it in the source window at yellow/green res. Obviously i cant cut this whole interview in h264 as it wont be able to play even one of the clips back in entirety. So i will transcode it.
Some things like DVC PRO HD, Pro res 422, even XDCAM you can get away with it, but h264,mp4,uncompressed unless on the biggest baddest machine with the fastest storage available, your gonna want to to transcode.
Neil Goodman: Editor of New Media Production – NBC/Universal
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Wow i think your thinking into this too deep. Even im confused now. Lol. Import is known as a “legacy” feature. It takes forever. Thats whyvlink to AMA and then transcode is used now. Its way faster, more control, etc. The only thing i ever bring in with import is stuff with alpha channels.
Neil Goodman: Editor of New Media Production – NBC/Universal
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[Bill Davis] “First is the reality that prior editors had basically a single workspace interface. The timeline was where all your editing happened. You STILL edit in a timeline with X, but if you look at the program holistically, X is fundamentally built around a two-stage process with the Event Browser as a place where you can do a lot of truly prep work that can make a whole lot of what you do in your timeline later, easier and more efficient. So if you do that – go straight to the timeline to edit – you’re hopping over a good bit of the power of the program right there. Remember, unlike most editing programs, FCP is built around a pretty robust relational database that communicates to the assets you use in sophisticated ways – so just focusing on putting clips in a timeline to start cutting them works – but you might as well be using a different tool. It’s NOT how X was designed to operate.”
Not sure about alot of the other guys, but even in most traditional NLe’s most of the fine tuning is done in the source monitor before inserting to a timeline. Not sure why thats different in X.
To many the most obvious is lack of tracks and the magnetism.
Neil Goodman: Editor of New Media Production – NBC/Universal
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i would actually link to AMA the files. Then transcode and edit with the newly transcoded files. Alot faster than legacy import, same resul, and legacy import has been known to change gamma on some quicktime files, especially prores.
Neil Goodman: Editor of New Media Production – NBC/Universal
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i got both FCP 7 and FCP X living quite happily on the same lion 10.7.5 boot. No need to complicate things.
Neil Goodman: Editor of New Media Production – NBC/Universal
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Just like Shane the only thing holding me back from trying to do certain projects in X isthe lack of tracks.
The magnetic timeline doesnt bother me at all. Took about an hour to grasp the behavior and obviusly having “P” on overrides it anyways. The tilde modifier was also huge for me.
Back to tracks, i too like being uber organized, i truly feel like 80 percent of editing is organization. I cant stand looking at an X timeline on a deep edit. Its just madness, roles or not. Doesnt make any sense to me.
The multicam mode in X is def next level, no argument there.
Neil Goodman: Editor of New Media Production – NBC/Universal
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yea on a similiar setup, what i do is set the main imac 27″ to be 1920×1080 while my second monitor is set to he same and is only 24 inches. i fin this resolution to work best with avid and it lets me open the source/record to its full expansion.
i set and save the workspace exactly how i like. Then as long i open Avid with the main monitor set to 1920×1080 res, everything works as it should, switching through spaces with ease, always remembers. However if i accidentally open Avid and the main monitor is back at 2560×1440 (which i use for other apps like davinci), then it gets all screwy, non of workspaces are right, and even if i switch back to 1980x there screwy and i have to set up and save them all over again. Kind of a pain, not sure the deal but it defiantly has something to do with monitor of different size cause on my work setup with dual 23 cinema displays this doesn’t happen at all, no matter what./
Hope this helps.
Neil Goodman: Editor of New Media Production – NBC/Universal
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My advice is i probably wouldnt use avid to do this. Not that it cant, but theres much better programs suited to handle this kinda effect.
Neil Goodman: Editor of New Media Production – NBC/Universal
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want the code supposed be totally refreshed with MC 6.0? Wasnt that the point of the whole 64 bit rewrite? Tom ove on from the old code? Thats what they were saying upon its release. Definantly feels alot snappier than the older builds.
Anyways, i think Avid is all around the most complete editor out there, but like other have said, Theres and FCP way of doing things and an Avid way. Trying to force on into the another is not gonna be ideal. In my experience nothing is as satiusfying as editing on an Avid tho. It just feels like your really operating something and the keyboard centric editing lets me really get lost in an edit.
That said, id like to see a few changes too. Scalable interface is one. On a 30 inch screen having to jump down to 1920 x 1080 resolution isn’t ideal as i have to keep switching back and forth when goin to other other apps. Id also like for Avid to not stop whats its coin or playback with every mouse click/command especially volume adjustments in them mixer. FX/Keyframe manipulation in the timeline wouldbe nice, and mainly id love for some more after market plugin manufacture to start making Avid stuff. Its rediculous how many people make plugins for FCP/X, PPRO, etc and how cheap some if it is. In Avid we get Boris (ok, but expensive) Saphire (great but unreasonably expensive) and New Blue (ok, great price). Not too many other options out there tho besides red giant.
Neil Goodman: Editor of New Media Production – NBC/Universal
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ill second that. Use Avid’s link to AMA and transcode. Its pretty fast if not faster than mpeg as it will use more ofyour cores and whanot to process (avid 6 and up)
Also davinci is a great way to make the mxf’s as well, especially if the footage was recorded with a LUT
Neil Goodman: Editor of New Media Production – NBC/Universal