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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

AVID PREVIEWS AJA Kona / Blackmagic / MOTU, 64-bit, res-independent, 7.1, Red Giant &

Avid has always had 4:4:4 I use it everyday.

It is an uncompressed RGB format, this DNXHD444 I dont understand, it must be a compressed version for dual link RGB.

I tend to use DNX-185X for 90% of my work, but If i need to go back to film currently i work in RGB mode and output to HDCAM SR.

If there is DNXHD444 as a compressed format similar to DNX-185X then that would be a great achievement as the uncompressed mode sucks way too much bandwidth and storage.

I would however like to have the ability for LUTS and DI on media composer/symphony and I have had DS for 6 years now and no one in my office uses it, as it is a totally different beast and doesn't easily integrate with my unity.
 
Hans.

Thanks so much for engaging in this fun. When I really think back the last time I edited avid was 2003. The I divorced her. She was a bad wife. I cut my loses. :) I'm not sure I'd be willing to remarry any ex.

It's bad politics.
 
David Battistella said:
Man. I need the AVID dictionary to understand 2/3rds of that stuff. Are those names ceased by editors or marketers.

Script sync. What script?

RTASFX. Wtf is that?

I can't handle all this. I'm busy in my superbin, fucking with my timewarp.

Stop! I'm in AVIDSPEAK overload!

Seriously. Can you appreciate how ridiculous this all is?

I just want to put shots together and tell a story. I don't give a shit about these labels.

David.
Click to expand...
I think you're being tongue and cheek so I'll simply say that there are a lot of features in Avid that at first people may not get or see value in, but once they start using them become indispensable. And as you probably know, Nexidia makes Get for FCP which is similar to Scriptsync. Very valuable tools in certain workflows.

At the end of the day, you use whatever gets you to the promise land. :-)
 
hey job, david is in no way a troll. he has just a different opinion which i and a lot of others here respect.
you get the same respect, now its your turn to give the same respect to david.

and david, i am doing the switch to avid. bruce convinced me :)
 
i think people get too caught up on a product that doesn't emphasize has much on the home editing experience. FCP was a great tool because it was intuitive and easy to set up and get going. but Avid has very complex tools that do a lot of things, integral to a post production environment that involves a lot of moving parts, software, hardware, etc. From broadcast to hollywood, as much as the argument that other NLE's are getting dominant, Avid is still the most trusted NLE for some of the biggest jobs. A lot of major tv networks are still all avid based, and hollywood still uses it a lot too. Just because they are features that mean nothing to you or the way you work, doesn't mean it isn't integral for other productions. When you have a TV episode with a 1 week turn around, something like "script sync" is gonna save you a ton of time organizing your clips. I've used it, it's awesome.

not to mention that Avid has always been good with their legacy products, older avid systems can still open modern avid projects within a certain level. I had a friend who handed off a fcp 7 project to someone at the CW, and they couldn't open it because they were still running FCP 6 there.

there are a lot of good unique things about avid, and just because it's not typically a freelancer's home user's cup of tea, doesn't lesson the product. I'm really excited for a lot of these new features, and if anything all this stuff on the horizon makes this so much easier for this to be a substitute for FCP because FCP X is just something I"m really not getting into. And just a side not about getting to cutting the story. award winning editors have won working on fcp and avid over the years. it's not the NLE, it's the editor. the NLE is just a enabler for their creativity, and that in the end is just about who you are.
 
Steve Sherrick said:
I think you're being tongue and cheek so I'll simply say that there are a lot of features in Avid that at first people may not get or see value in, but once they start using them become indispensable. And as you probably know, Nexidia makes Get for FCP which is similar to Scriptsync. Very valuable tools in certain workflows.

At the end of the day, you use whatever gets you to the promise land. :-)
Click to expand...


Steve,

yes very much tounge in cheek. Thanks for recognizing this. We need a breath of fresh air in NLE land this month!

David
 
Job ter Burg said:
You're saying I did not respond to him with respect so far? If so, I beg to differ.
And who is Hans?
Click to expand...

Guys. I feel respected. No worries here. I'm not trolling, just reminding everyone that we have a ton of choices right now.

I love this community and I like the discourse.

Heck. I can honestly say, I might end up back on AVID and it would not bother me one bit. What ever pays the bills. I am not loyal to them, they need to be loyal to me.


Thanks for engaing in all this fun I am having. I mean no disresepct. I am mostly playing devils advocate in this thread. I'm high on FCP X this week. That can change. I'm not marrying any NLE because they always end up cheating on you.

:)

Peace.

David
 
Tom.Wong said:
From broadcast to hollywood,
Click to expand...

Tom,

Where will boradcast or Hollywood be in ten years. If you can tell me. I will buy you a coca cola.

Don't pretend to know, because you don't and I don't. ten years ago many people thought Apple was dead, then this little thing called the iPod came out.

David
 
Job ter Burg said:
You're saying I did not respond to him with respect so far? If so, I beg to differ.
And who is Hans?
Click to expand...

you dont know hans?
his name is hans error, his signature is I AM ERROR,
sadly he doesnt lurk around here anymore.

dont take things too personal :)
and dont forget i have a huge language barrier, maybe i misunderstood you
 
Cüneyt Kaya said:
you dont know hans?
his name is hans error, his signature is I AM ERROR,
sadly he doesnt lurk around here anymore.

dont take things too personal :)
and dont forget i have a huge language barrier, maybe i misunderstood you
Click to expand...

I sorry guys. I am error.
 
you dont know hans?
his name is hans error, his signature is I AM ERROR,
sadly he doesnt lurk around here anymore.

dont take things too personal :)
and dont forget i have a huge language barrier, maybe i misunderstood you
Click to expand...


OK, this is obviously all beyond me.
 
To sum things up:

- We basically we all kinda agree.. no NLE out now is the holly grail.
- We all profit from the NLE war, where as a community are all responsible for .
- Most probably end up owning all (sure i am).
- We all changed basically the way pro company's communicate with us, ' if you don't listen to us we move on'.
- We probably end up creating new workflows based on multi NLE's, so forcing them to play nice with each other (in the end).
 
Wow. I wake up and this thread has gone crazy! In a jovial good natured fun way though.

Adam Eden said:
Avid has always had 4:4:4 I use it everyday.

It is an uncompressed RGB format, this DNXHD444 I dont understand, it must be a compressed version for dual link RGB.
Click to expand...

Exactly. It is the equivalent of ProRes4444. Except hopefully it doesn't have the gamma issues and 10bit/12bit weirdness that I would encounter going between After Effects and FCP with ProRes4444. Since all flavors of DNxHD have transferred perfectly in the past, I am optimistic for DNxHD444.

BTW even though it only has three 4's, I am assuming it does alpha as well. I think that all DNxHD formats have an alpha option? Doing graphics, I always found it a handy thing to have.

I could imagine a couple of uses for it:
1. As a middle ground for existing workflows - higher quality than 4:2:2 DNxHD185X but less data rate than uncompressed.
2. For full-frame stereo 3D. If you're working with two 1920x1080 frames, 10 bit uncompressed is going to EAT up space. But those projects probably involve a lot of green screen etc so a 444 format is nice for them.
3. If you're working with a 4K project and want to have very light compression
4. Heck, if you're doing 48fps 4K stereo 3D

Adam Eden said:
I would however like to have the ability for LUTS and DI on media composer/symphony and I have had DS for 6 years now and no one in my office uses it, as it is a totally different beast and doesn't easily integrate with my unity.
Click to expand...

I too would like LUTs. Temporary solution- ol' Stu Maschwitz is making a program called LUT buddy as an NLE plugin. Let's all pester him to make an Avid version now that Red Giant and Avid are getting along so well, haha! Personally I think that Avid - which is very reliable about color levels, gamma, etc. would be a great platform for his plugins. It sucked using Magic Bullet between FCP and After Effects because the damn gamma would always change. I imagine that with a fancy LUT it's even more important!

Bruce Allen
www.boacinema.com
 
David Battistella said:
Dontcha think LUTS are so, like, yesterday? I mean how long do you think LUTS are going to last?

David
Click to expand...

What do you nominate to replace LUTs?

EDIT: to answer the question, I think that LUTs, either 1D or 3D, will be used for the next 100 years, I think. Consumers won't know they're being used, but they will be there under the hood.

EDIT EDIT: Actually, I don't think I do understand the question. Sorry?

Bruce Allen
www.boacinema.com
 
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