Oliver Peters
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Forum Replies Created
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[Ronny Courtens] “Absolutely hate that interface, much too cluttered for me.”
The interface can be as cluttered or as streamlined as the user wants. Obviously for demo purposes, they tend to use a lot of open panels and colors, but that doesn’t need to be how a user runs it. Also these are single screen views. It’s less cluttered on dual displays, which is how most Avid editors work anyway.
At the enterprise level, large broadcast users can set up restricted workspaces by task. For example, a very streamlined view with limited permissions for the user, like a logger, producer, reporter, or assistant editor. All set up via a central profile control panel by a sys admin. Log in as the editor and you may see the full toolset, but log in as a reporter and you are only exposed to a subset. This is something that places like NBC or large university film labs are quite interested in.
Oliver
Oliver Peters – oliverpeters.com
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[Steve Connor] “About time too, they’ve finally made it look like……Resolve!”
There’s a lot more going on than just the UI refresh. It’s also the first iteration of an ongoing overhaul project that will continue to play out over the year.
– Oliver
Oliver Peters – oliverpeters.com
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[Michael Gissing] “The interface has improved but the sales blurb is still last century. Yes it does look more like Resolve”
Gosh, if that’s what bothers you, then you are reaching ☺ I don’t see any less marketing BS all over BMD’s website. Or Apple’s or Adobe’s for that matter. OTOH, let’s see which company delivers their hardware mixing consoles first ☺
– Oliver
Oliver Peters – oliverpeters.com
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Just for clarification, there are things mentioned in this video that are not specifically part of Media Composer 2019. Some of these, like Distributed Processing on a network, are additional products/options that are part of the larger ecosystem, specifically Nexis and Media Central. Quite a few things were announced today at Connect and will be on the show floor at NAB starting Monday.
FWIW- Avid must be feeling pretty good about the stability of this build, even though it just recently went into beta testing. They ran the stage presentation for the sound and picture editorial team for “Bohemian Rhapsody” from this version. That featured some scenes from the film, including one that didn’t make the final version.
– Oliver
Oliver Peters – oliverpeters.com
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[Michael Gissing] “One thing that has surprised me is that the Resolve edit & mix panels are not available.”
I suspect that my never happen. The market is small and BMD keeps changing menu location items. Hard to keep up.
– Oliver
Oliver Peters – oliverpeters.com
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Ultimately it depends on whether Apple opens up the format for writing to more camera manufacturers and for reading to more NLEs and player applications. So far there are only two widely accepted raw video formats: CinemaDNG (as image sequences) and REDCODE. Plus in the smaller theatrical community, there’s ARRIRAW.
Oliver
Oliver Peters – oliverpeters.com
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Seems like the new battle for editor hearts and minds these days is between Premiere Pro and Resolve. FCPX and Media Composer holding their own with their respective markets.
Oliver
Oliver Peters – oliverpeters.com
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No different than if you shot and graded ProRes Log-C with an Alexa.
Oliver
Oliver Peters – oliverpeters.com
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There are a number of differences in Core versus Xeon CPUs, but it’s harder to differentiate these days, since both offer lots of cores. The main thing these days is that actual core speeds are faster in Core CPUs than in Xeons. Core speed is important with After Effects.
As far as H264, H265, that’s a function of QuickSync in the Core chips. When I tested Resolve for H264 encoding, it actually gave me the option of native, Nvidia or QuickSync. The Nvidia option was fastest.
Oliver
Oliver Peters – oliverpeters.com
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[Richard DeFinis] “so…. has anyone taken the plunge????”
9 systems. All running fine.
– Oliver
Oliver Peters – oliverpeters.com