AVID>Compressor
22/June/11 11:31 PM
Thanks Sean at EPS for
this terrific workaround!
Lots of times we need to get an AVID MC Ref QT into Compressor and add TC or a “Prop Of”, and with DNX codecs, you can’t. Lots of steps await you. And of course, time.
Here’s the uber simple workaround:
Pull the Ref QT into FCP (I suspect not X), and then SEND to Compressor. Add burn ins as desired.
Done.
So simple.This made me happy.
Lots of times we need to get an AVID MC Ref QT into Compressor and add TC or a “Prop Of”, and with DNX codecs, you can’t. Lots of steps await you. And of course, time.
Here’s the uber simple workaround:
Pull the Ref QT into FCP (I suspect not X), and then SEND to Compressor. Add burn ins as desired.
Done.
So simple.This made me happy.
Comments
Tools and Talent
13/April/11 09:22 AM
Picking tools is fun.
Arguing about which tool is best is fun. Checking out
shiny accesories for the tool is fun.
But, eventually, you have to build the house. Or award winning feature. Read More...
But, eventually, you have to build the house. Or award winning feature. Read More...
NLE Changes and Creating Art Part 2
11/April/10 07:17 PM
Autodesk SMOKE is a very
high end product. Is it worth a minimum of $20K? And
the very anticipated release of Adobe CS5. Will it
devalue the FCP currency? AVID has announced MC 5.
Significant or nice-to have feature
changes/additions?
Read More...
Read More...
NLE Changes and Creating Art
08/April/10 12:26 PM
Changes coming fast and
furious in the editing software world. Adobe back and
better! FCP on its last legs? Smoke 2010 on the Mac!
AVID streamlining, relevant again, and promising an
uber-surprise at NAB!
I’ve resisted writing about editing tech so far in this blog, even though it excites me beyond reason and is half the focus of FORWARD EDIT. Why? I believe that the artistic side of editing, and post in general get short shrift in the online world. Even when editors/assistants get together, talk inevitably turns to software/hardware problems or the newest toys or keeping up/one upping everyone else. What version of FCP are you on? Me: 6.06 vs. the current 7.02. Why are we so obsessed with software that is all fairly similar in what it does and even how it does it? And did editors and assistants in the pre-digital age talk shop in this way? Latest Steenbeck or Moviola? I suspect “hardware” issues came up along with the best ways to solve them. Sync methods, how fast can you go, sorting trims, etc...but I don’t think such things occupied vast tracts of conversation time (if the Internet had existed then, would blogs have covered picture post much at all?)
And definitely, the ability to operate software does not an editor, or even assistant (me) make. What does is an innate ability to tell a story. For assistants, it’s an ability to organize, juggle tasks, lay down sound FX, and a million other “arts.” Oh yes, navigating uncooperative software helps.
Anyways, the changes, challenges, surprises: the future. (Why do all 4 NLE companies begin with “A”?)
The non surprise at the moment. Shipping vs. is 7.02 ($999) and the most recent large update was last year and was a minor upgrade disguised as an event. As far as I’m concerned, there have been no significant changes in years. Yes, years. So what’s going on? Rumors would have you believe that Apple doesn’t care about FCP at all anymore and is trying to sell it. Even read a rumor today that AVID’s NAB shocker will be that it has bought FCP! Don’t believe that... And yet, what gives? iPad, iPhone, App Store just taking up too many of Apple’s resources? Probably. Apple got a lot of people to buy Macs that wouldn’t have otherwise and now doesn’t care anymore? Maybe. I argue that Apple caused the true democratization of editing by creating a relatively affordable NLE. And somewhat easier to use than AVID. So why give up now? Some estimates are that FCP has captured close to 50% of the major player NLE market. All of this year’s Oscar nom’d docs were cut on FCP.
AVID has been working hard to clean up their product line. Previously there were too many editions of what was basically one core product, Media Composer. Currently vs. 4.05, $2295 software only. Different AVID finishing products still exist and are solid performers. I think it’s especially important that AVID released a software only version for the Mac last year. For hi-powered Mac Pros, this is a fine solution. I learned NLE on an AVID and think it has some advantages over FCP. Not tremendous, but some. Like media management. And pretty colors.
VIACOM last month ordered that all shows that are cut for any of its divisions (Paramount, MTV, Comedy Central), must be cut on AVID. WOW.
AVID is promising a mega surprise announcement at NAB; I haven’t heard any worthwhile rumors. A few more days wait.
Part 2: CS5 and Smoke.
I’ve resisted writing about editing tech so far in this blog, even though it excites me beyond reason and is half the focus of FORWARD EDIT. Why? I believe that the artistic side of editing, and post in general get short shrift in the online world. Even when editors/assistants get together, talk inevitably turns to software/hardware problems or the newest toys or keeping up/one upping everyone else. What version of FCP are you on? Me: 6.06 vs. the current 7.02. Why are we so obsessed with software that is all fairly similar in what it does and even how it does it? And did editors and assistants in the pre-digital age talk shop in this way? Latest Steenbeck or Moviola? I suspect “hardware” issues came up along with the best ways to solve them. Sync methods, how fast can you go, sorting trims, etc...but I don’t think such things occupied vast tracts of conversation time (if the Internet had existed then, would blogs have covered picture post much at all?)
And definitely, the ability to operate software does not an editor, or even assistant (me) make. What does is an innate ability to tell a story. For assistants, it’s an ability to organize, juggle tasks, lay down sound FX, and a million other “arts.” Oh yes, navigating uncooperative software helps.
Anyways, the changes, challenges, surprises: the future. (Why do all 4 NLE companies begin with “A”?)
APPLE-Final Cut Pro
The non surprise at the moment. Shipping vs. is 7.02 ($999) and the most recent large update was last year and was a minor upgrade disguised as an event. As far as I’m concerned, there have been no significant changes in years. Yes, years. So what’s going on? Rumors would have you believe that Apple doesn’t care about FCP at all anymore and is trying to sell it. Even read a rumor today that AVID’s NAB shocker will be that it has bought FCP! Don’t believe that... And yet, what gives? iPad, iPhone, App Store just taking up too many of Apple’s resources? Probably. Apple got a lot of people to buy Macs that wouldn’t have otherwise and now doesn’t care anymore? Maybe. I argue that Apple caused the true democratization of editing by creating a relatively affordable NLE. And somewhat easier to use than AVID. So why give up now? Some estimates are that FCP has captured close to 50% of the major player NLE market. All of this year’s Oscar nom’d docs were cut on FCP.
AVID-Media Composer
AVID has been working hard to clean up their product line. Previously there were too many editions of what was basically one core product, Media Composer. Currently vs. 4.05, $2295 software only. Different AVID finishing products still exist and are solid performers. I think it’s especially important that AVID released a software only version for the Mac last year. For hi-powered Mac Pros, this is a fine solution. I learned NLE on an AVID and think it has some advantages over FCP. Not tremendous, but some. Like media management. And pretty colors.
VIACOM last month ordered that all shows that are cut for any of its divisions (Paramount, MTV, Comedy Central), must be cut on AVID. WOW.
AVID is promising a mega surprise announcement at NAB; I haven’t heard any worthwhile rumors. A few more days wait.
Part 2: CS5 and Smoke.
The Quality of Editing
06/April/10 05:10 PM
It is
such
an exciting time to be
working in post. Even though it's getting harder and
harder to say "post" in isolation. So many of my
fellow artist-geeks are combining their loves into
one big super-colossal package of art::tech
symbiosis! They are becoming shootists by
exploiting the DSLR revolution, and then naturally
editing their own footage. Youtube, Vimeo, FOD,
and other websites are encouraging many to become
writer/directors (not that most didn’t
want to be in the
first place!) During “real” post, the assistant
and editor position merges into one, and VFX and
audio skills are usually a given, at least at a
basic level. Add PR capabilities my mixing and
schmoozing at Sundance, SXSW, Comic-Con...and
suddenly an editor is a film making superbeing!
And yet, to be really good at a particular skill or even inherent talent, most human beings must concentrate on one or two at a time. Many studies have indicated as much; even piano prodigies must practice constantly. And direct observation has confirmed this to a large degree. Multitasking ability does not lead directly to perfection or close to it within any task. For instance, take a look at most of the short comedy videos on FOD. Many are at least mildly funny, in a one | two note kind of way. Some are hilarious! Done.
However, digging down, the editing for the most part is rudimentary. Many of the vids are much, much too long. Cuts are rough and stick out like jagged glass. Sound often takes you out. Production design and lighting are minimal. Of course much of the poor editing can be attributed to the fact that these vids are shot fast, without much thought to the story as a whole, and without much direction. Camera setups and types of shots are not planned out. The shorts that are directed and thought out and lit in some basic way are noticeably better than the rest. For these sort of websites the question is: does it matter? You have a few minutes and want a quick laugh...do you care that what you’re watching looks like crap or that the editing jars you every other cut? Probably you laugh and move on.
So, at what point do you begin to care about production and post production values? Youtube level vids? FOD? Hulu? A few dollars for iTunes content? Straight to vid Netflix DVDs? Gas money to the local vid store? Cheapo afternoon theater showings? 3D Friday night premium price movies? Recently, CLASH OF THE TITANS helped raise the fake 3D debate to another level. Not worth it was the vote of many moviegoers. And yet more cash was made by adding a 3D option at theaters. So even at a top moviemaking level, compromises are made with regard to quality. Taking shortcuts at both ends of the budget spectrum: when do you care?
Please comment.
And yet, to be really good at a particular skill or even inherent talent, most human beings must concentrate on one or two at a time. Many studies have indicated as much; even piano prodigies must practice constantly. And direct observation has confirmed this to a large degree. Multitasking ability does not lead directly to perfection or close to it within any task. For instance, take a look at most of the short comedy videos on FOD. Many are at least mildly funny, in a one | two note kind of way. Some are hilarious! Done.
However, digging down, the editing for the most part is rudimentary. Many of the vids are much, much too long. Cuts are rough and stick out like jagged glass. Sound often takes you out. Production design and lighting are minimal. Of course much of the poor editing can be attributed to the fact that these vids are shot fast, without much thought to the story as a whole, and without much direction. Camera setups and types of shots are not planned out. The shorts that are directed and thought out and lit in some basic way are noticeably better than the rest. For these sort of websites the question is: does it matter? You have a few minutes and want a quick laugh...do you care that what you’re watching looks like crap or that the editing jars you every other cut? Probably you laugh and move on.
So, at what point do you begin to care about production and post production values? Youtube level vids? FOD? Hulu? A few dollars for iTunes content? Straight to vid Netflix DVDs? Gas money to the local vid store? Cheapo afternoon theater showings? 3D Friday night premium price movies? Recently, CLASH OF THE TITANS helped raise the fake 3D debate to another level. Not worth it was the vote of many moviegoers. And yet more cash was made by adding a 3D option at theaters. So even at a top moviemaking level, compromises are made with regard to quality. Taking shortcuts at both ends of the budget spectrum: when do you care?
Please comment.
Congrats!
02/February/10 11:06 AM
Oscar time! Congratulations to the Editing nominees:
"Avatar" (20th Century Fox) Stephen Rivkin, John Refoua and James Cameron
"District 9" (Sony Pictures Releasing) Julian Clarke
"The Hurt Locker" (Summit Entertainment) Bob Murawski and Chris Innis
"Inglourious Basterds" (The Weinstein Company) Sally Menke
"Precious: Based on the Novel 'Push' by Sapphire" (Lionsgate) Joe Klotz
"Avatar" (20th Century Fox) Stephen Rivkin, John Refoua and James Cameron
"District 9" (Sony Pictures Releasing) Julian Clarke
"The Hurt Locker" (Summit Entertainment) Bob Murawski and Chris Innis
"Inglourious Basterds" (The Weinstein Company) Sally Menke
"Precious: Based on the Novel 'Push' by Sapphire" (Lionsgate) Joe Klotz