[Trevor Asquerthian]

[Tony West] “while you can’t really do what you are wanting to do”
Well I can, but only with IPEdit (which is showing no signs of future development).

[Tony West] “you can in X share a section of the timeline to the EVS while working in that same timeline”

Yep – I can also do that with Avid, PPro, Resolve….

[Tony West] “The export is pretty fast like you said so………..not really losing that much time”

But someone has to stitch the chunks together into a playlist that is playing to air.

And when something happens that means you need to lose time from an earlier (but as yet unaired) portion of the show, it means that whoever is stitching the patches needs to be reliable… plus you could really only risk that with say 5 minutes before the patch aired when you ‘share’ from the NLE… which means you’ve got to edit and review the edit ahead of that…

It’s niche editing, I know. But not that niche.

[Trevor Asquerthian]

[Bill Davis] “I can’t imagine there’s any way to concurrently let two LIVE timelines exist each reaching into the same database. “

Well that is what IPEdit has done for quite a few years. It’s very basic but at this (two independent playouts simultaneously, with one able to edit the timeline) it has no peers. That I can find.

[Trevor Asquerthian]

[Bob Zelin] “and when you complain “it’s not as powerful as what an EVS can do” –

my reply –
https://www.newtek.com/3play/
“

Looks like they have come along a bit! I shall have a further look at IBC. Thanks Bob

[Trevor Asquerthian]

Thanks Bill, I know of Peter & the TdF work (even from the Gallery version of movie recorder). They stream, for editing a growing file, but export sequences to play to air.

No way of FCPx to have two playheads, unfortunately. (Nor Avid, Resolve, PPro either, pretty sure Lightworks, Edius & Vegas can’t either)

(I do think that X is possibly quickest to export for the ‘chunked’ workflow though.)

[Trevor Asquerthian]

Bob

There are multiple options to stream and edit the growing file.

The question was which NLE can playout (reliably to air) a sequence that is still being edited?

Thanks for the response though.

Trevor

[Trevor Asquerthian]

Baselight Editions for Avid is excellent Colour grading plug-in. Deep, but worth it. Has a month trial. Symphony is still a good but very basic CCR and has relational grading (BLE inspired by it – Grade one shot and have it ripple others from same tape/master/subclip etc). Also balance show with sourceside CCR and apply look/trims with program side CCR.

Not sure why you’d prefer to finish in Premiere at all (Lumetri has no relative correction, does weird stuff around legal levels and hard to manage stacked grades ) unless you need AfterFx. And then you are likely to build at least temps to put in the offline.

I do quite a lot of ‘all in one’ short form edits in PP and generally take the time hit to round trip the grade through Resolve. Changes are a little painful but nothing as bad as trying to work with Lumetri.

[Trevor Asquerthian]

1. Maybe. Long way to go though. Needs a critical mass of heavy usage by serious editors. Major Hollywood movies / dramas / reality shows / sporting events – they all test different parts of the NLE.

Avid had it in the early days as they became the only non-linear game in town (plus the prices afforded decent R&D budgets)
Adobe have put money into this research (Gone Girl etc, Football World Cups)
Not sure BM can afford it on their financial model.

2. Phase out? Hmm. FCP7 made inroads and now PP has made inroads but PP is not very backwards compatible, not very good for collaboration and introduces new bugs with each release.
Avid is the best for trimming, stable, still improving and is mostly the solution for larger installations. Still about 60% of my work.

One place I work has PP, Resolve & Avid on the same computer. We tend to use PP for short form (colour in Resolve) and Avid for long form.

3. Only you can tell, but if there’s Avid work in your market then yes.

[Trevor Asquerthian]

If I understand what you are trying to do (duration count from 1 for each time camera is switched) then yes Avid can do this. PPro timecode generator more crude – you might be able to script it.

Typically U.K. multicam music directors block out to a music script/score & have an experienced music script-super/AD count the bars & shots. Search YouTube for Hamish Hamilton and you’ll get an idea.

[Trevor Asquerthian]

25P is 25 images a second. Like film
50i is 50. Like TV

Thus movement *is* more steppy at 25P

They could shoot 50I if you wanted a TV look, either way your method is fine.

You might want to flag the imported/transcoded footage as ‘interlaced’ in field motion bin column if you work in a 50i project to avoid redundant 25P->50i motion adapters being applied.

[Trevor Asquerthian]

If the B cam was in ‘free run’ timecode then you can ‘auto sequence ‘ those clips to help build your sync map.

Or copy start to aux1 TC, work out offset between cameras then increment/decrement timecode?

If B cam was ‘Rec run’ TC then maybe the file creation time will get you close.

Once sync map is built check out ‘Group it for me’