Pat Mcgowan
Forum Replies Created
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Correct me if I’m wrong but it looks to me like the Panny camera was not focused on the same objects (the scenery shot with the hedges in the fg is a good example of this). Even the test pattern looks like the Panny sample was shot off-angle or something.
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Wow, I’ve never had this happen. My clients are usually delighted to have their videos displayed on my website.
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If the HPX500 images look anywhere near as good as the HDX900 then the camera will be a winner.
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In PPRO, the Capture utility settings seem to overide machine control settings. So, if you last used Firewire control in capture and you try to Export to Tape using serial control it won’t work. You must go into Capture and set the machine control settings to whatever you want to use in Export to Tape.
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Do you think that Adobe cares about CS3 offering freelancers a more robust toolset that will allow the ability to compete against FCP editors? My impression is that they care more about selling seats of CS3 to MAC based users of After Effects. Simply put, Adobe appears to regard professional editors as an insignificant market segment that does not warrant features and fixes that will win over professional FCP users. It’s a numbers game.
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tclark, once again you’ve missed the point because you want to argue about the parallels I used to make the point.
What is so outrageous about expecting (demanding) the product to work in a real world, high pressure production environment? The naked truth is that PPro is not reliable enough and has too many problems at present to qualify as a “best of breed” tool for business use (ie. billable time). Sure, if you never have client contact or you’re a hobbiest or educator, you can afford to wait for restarts, reboots, rebuilds of lost projects etc.. But we can’t.
Adobe must take heed and muster all resources to make this product work 99% of the time. They must also fix the things that make it amateurish.
Is this an unreasonable expectation or request. Go to the Adobe site and read their product claims. Can Adobe defend those claims? Every day? With clients breathing down the editor’s neck?
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So you’re saying that having a bunch of agency clients breathing down your neck is not “mission critical” and it’s OK for the software to freeze, kick you out or simply not load the project?
Give me a break.
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Ah yes, the old “you get what you pay for” argument. Why then does Adobe not advertise it’s PPro offering as “Cheap software that may not be reliable, but it’s cheap!”?
Obviously they don’t, they advertise it as a professional toolset that works.
I own power tools that are not high priced and top of the line, I also own a car that is not high riced and top of the line. I can drive screws and go to the mall with little difficulty with those products.
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Yes, there are problems with NLEs in general. However, there were never the types and severity of problems with Media 100, Discreet Edit* and Avid as there are with PPro and FCP.
What if these softwares were used to run banking systems, nuclear plants, air traffic control, or 911 systems? Imagine the outcry.
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We went with Adobe because of the promise of a truly integrated toolset that could allow us to service broadcast HD and SD, corporate and web-based assignments.
So far it has been extremely frustrating and unpredictable. It’s kinda like driving a car with 3 wheels. If you balance the load you can actually get somewhere but you’ll never get up to full speed and every once in a while the whole thing tips over and grinds to a halt and you have to spend a bunch of time figuring out how to get the blasted thing rolling again.
Adobe seems to be content, sagely watching us squirm and moan, confident that there is no other viable alternative on Wintel boxes. All I can say is that we, like many others, will wait to see if PPro 3.0 is, in fact, a professional product that allows us to work at full speed with minimal gyrations. If it’s not, we’re gone to Avid or FCP.