Oliver Peters
2
Apple Final Cut Pro X Coins
6
Avid Coins
17
COW Coins
1
DaVinci Coin
1
Premiere Pro Coin
Forum Replies Created
-
One glaring issue in the current Beta version of R16 is that you cannot trim audio separately from the picture in the Cut page. Like FCPX, clips are combined a/v clips. Although a clip goes to V2, it functions a bit like a connected clip in FCPX. Therefore, the Cut page has no separate audio tracks, only video (actual a/v) tracks.
A clip edited to V2 has source audio married to it. Clips on any track cannot be expanded and the audio trimmed independently, like you can in FCPX. You have to switch to the Edit page for that type of editing.
In this current form, it seems like the Cut page is largely a place to build rough cuts before going to the Edit page, or maybe very simple YouTube or news stories. Maybe that will be fixed before R16 finally hits the release version.
BTW – it’s also interesting that between NAB and now, the edit keyboard price has changed from $995 to $1,025.
– Oliver
Oliver Peters – oliverpeters.com
-
[Teresa Brown] “is everyone still transferring footage by hard drive?”
I think the question should be, who is NOT transferring to hard drives? ☺ What else were you considering? Cloud?
– Oliver
Oliver Peters – oliverpeters.com
-
[Neil Sadwelkar] “Another aspect is that other NLEs are editing systems,…. …….humans proficient in colour correction, compositing, or sound design, exclusively work within the respective pages (only) within Resolve, and the editor holds it all together by working in the Edit page and media pool. Expecting these 4 to be the same human is unrealistic, and certainly not commonplace.”
One thing to point out here, is that Resolve has a very definite left to right workflow through the pages. For example, it doesn’t work well to add effects in the Fusion page and have those appear back in the Edit page. Some effects show up, some don’t. You have to do a mix down or compound/nest the clip (whatever Resolve calls it). That’s contrary to a true all-in-one workflow philosophy. The design is really that you lock the edit, then do color and effects, and then finally mix.
That’s as opposed to Adobe where I can send a clip off to AE with Dynamic Link/render-and-replace and have an AE designer do the embellishment/compositing. But only if I want it linked in the same timeline, which is optional.
Remember, too, that neither Fusion nor Fairlight ever garnered large market share and historically more node-based compositors have hit the market and failed compared with fewer, but more successful, layer/track-based compositors.
So I think Resolve – the idea – is more attractive than the reality.
– Oliver
Oliver Peters – oliverpeters.com
-
[Ronny Courtens] “I can see a good future for Resolve, but just not one that is causing the kind of landslides we have witnessed before.”
I would agree. All of the tools today are good. Much of the decisions related to NLEs involve workflow and ecosystem. A fancy new feature or even somewhat better performance usually isn’t enough to make a big change. I think most people and most facilities today are reasonably happy with the choices they’ve made. With the low cost of Resolve, together with its cross-platform compatibility, there’s no reason not to have it as an additional tool, no matter what you are using – without completely jumping ship.
OTOH, the reason I asked the question in the first place, is precisely because I see a number of very positive comments towards Resolve 16 both here and at FCPco. Not to mention also among RED users. Maybe not enough to switch, but certainly in the vein of “the grass is greener…” This strikes my as intriguing from a standpoint of human nature. Many folks who like X swear by the magnetic timeline and trackless UI. Somehow when they look longingly at Resolve 16, those issues are suddenly less important. Kind of funny to me. ☺
– Oliver
Oliver Peters – oliverpeters.com
-
You are welcome.
– Oliver
PS: I made a few updates. I apparently missed the fact that RED was tucked away in a demo room in the North Hall. So I’ve linked to Phil Holland’s excellent thread at RedUser.
Oliver Peters – oliverpeters.com
-
It was my understanding that the e-mail about versions and Avid internal licensing was unrelated to these changes. Apparently it had to do with some Dolby licensing.
Oliver
Oliver Peters – oliverpeters.com
-
[Andrew Kimery] “Unless I’m misunderstanding something specific you are referencing”
Yes, new apps were shown tied to Media Central. These allow for admin control to assign, lock, copy, mode, create bins in a web based format. Also log clips. This was outside of MC, but running on Nexis.
– Oliver
Oliver Peters – oliverpeters.com
-
ProRes RAW really requires camera manufacturers to get on the bandwagon before post folks will really deal with it. I don’t see any new camera announcements here at the show about ProRes RAW.
– Oliver
Oliver Peters – oliverpeters.com
-
[Andrew Kimery] “Speaking of getting the interface out of the way… the fact that you can modify Avid MC projects (add/remove bins, add media, copy/move parts of a project, etc.,) via Finder/Windows Explorer is one of the best and most unheralded features of MC from an AE point of view.”
Remember, this requires a full Nexis set-up and separate software.
– Oliver
Oliver Peters – oliverpeters.com
-
Some impressions from the show. Resolve 16’s “cut” page is an additional fast cutting mode. It seems about as close to FCPX as they could legally get, but with improvements. There is a 2-level timeline view. The top (small) timeline is the full-length view, whereas the bottom, detailed view can stay zoomed in. This makes navigation throughout the timeline faster, because you don’t have to zoom in and out all the time.
The system detects when you are close to a cut. So if you within the right distance and go to add a dissolve, it automatically applies it to the right cut point. In multicam work, you can drop a master shot down and then add cutaways. The system automatically knows where to add the cutaway (presumably based on sync sound or TC).
There is a version of content-aware video fill in the color page.
The keyboard is very much like a Sony BVE9100, only updated. Solid, metal construction, with a jog/shuttle knob that has proper ballistics (not like the various USB controllers that are out there). Very much like it felt on an actual 9100, although you can argue whether skimming in FCPX is still a faster way to work. Both Peter Wiggins and I were there (we’ve both worked a 9100 in another life) and the keyboard has a very familiar feel to both of us. Apparently it requires a lot of power, so it’s USB-C and there’s internal power caching for the knob. It’s probably not cheap to manufacture. This is definitely not just another high-end Logitech-style keyboard. Is it worth $995? Depends on the individual I suppose. But it IS geared around fast, keyboard-driven cutting and trimming.
Oliver
Oliver Peters – oliverpeters.com