sep:

I am just cutious to know in what circumstances you actually need the "true" original TC.

For onlining projects where the whole tape is originally captured. With footage from most cameras the TC in the clip at the end of that clip (60 minutes?) is different from the TC on tape at the same point. In some cases by up to 3 seconds or more. 

Onlinning with TC like this is a regal pain. Almost like having the world most accurate watch.  (a broken one that keeps perfect time once every day)

Haze:

What's a 50% speed increase worth?  What would you pay to double or triple the speed of your work?

 

Back to the interruption for which you apologised, Haze.  You're making the same assumption as an editor I trained to use Lightworks 15 years ago.  And I make the same comment that I made to him.  Above a certain point it doesn't matter how fast your equipment is, you will still take the same time to make your creative decisions.  The real editor, your brain, is still working at the same speed.

And you would have appreciated Lightworks, Andrew.  It had real analog timecode in and out.  (And the editor I was training was in Queenstown at the time, by the way.)

Back to the interruption for which you apologised, Haze.  You're making the same assumption as an editor I trained to use Lightworks 15 years ago.  And I make the same comment that I made to him.  Above a certain point it doesn't matter how fast your equipment is, you will still take the same time to make your creative decisions.  The real editor, your brain, is still working at the same speed.

.-The problem is (and I think that is what he meant) the other way around:

When the NLE doesn't keep pace with the editor.

When the editor have to waste time figuring out workarounds for otherwise routine tasks.

Or when you need more steps to do a given task.

Or when you have to spent hours trying to fix stupid things.

Or when there is a thing you can't simply do in one app (FCP) but you can on others (Avid), like trimming several layers at a time.

Just one example, FCP can't import TGA sequences as a clip, you have to convert the sequence to a  clip using Quicktime Pro or other mean of conversion.

That's an unnecessary waste of time.

jwrl:

 it doesn't matter how fast your equipment is, you will still take the same time to make your creative decisions.  The real editor, your brain, is still working at the same speed.

I get your point -  I'll take a long pause to collect my thoughts trying to figure out the best way to transition from one scene to the next.  But there are plenty of times when I already have it sorted out in my head and I want to move down the timeline faster but I have to wait on the render - this blows. Or the task I'm doing isn't creative at all.  Perhaps reformatting some footage with a some minor CC and adding a bug.  I want to finish this mundane task as quickly as possible and get back to the fun stuff, the creative stuff.

Regarding Lightworks I never had the chance to try it out, but the few editors that I know that actually used the system loved it.  They talk about it like it was the best thing since sliced bread.

jwrl:

And the editor I was training was in Queenstown at the time, by the way.

Not Ken offlining a Canadian coPro series shot here about Huskies?  He tried to convince me to go with Lightworks at the time.

It was in fact Ken Petersen, cutting the "White Fang" series.  A good guy, and a good editor.  And that means that you and I also probably met, Andrew, although briefly.  You were driving a GVG edit system at the time, if I'm right.

After my comment about cutting time - the production company had imposed an impossible schedule based on the fact that they were using one NLE - he dragged me before the EP and said, "tell him what you've just told me!"  I did.  I got a six week gig as second editor out of it.  Not my original intent!

Haze:

Regarding Lightworks I never had the chance to try it out, but the few editors that I know that actually used the system loved it.  They talk about it like it was the best thing since sliced bread.

Yes, and I'm one of those editors that loved it!

Haze:

I'll take a long pause to collect my thoughts trying to figure out the best way to transition from one scene to the next.  But there are plenty of times when I already have it sorted out in my head and I want to move down the timeline faster but I have to wait on the render

Yes, that's valid.  But I've also used a not-quite-necessary render to buy me think time, too.  And don't tell me that you haven't done the same thing!

jwrl:

You were driving a GVG edit system at the time, if I'm right.

Small world. You have a better memory than me. GVG with Protools. Ken tried a couple of times to persuade me on Lightworks but Avid was already on my horizon as IMO it was far closer to a GVG edit concept.

Small world indeed.  Lightworks took me to the land of the long white cloud on several occasions.  I always enjoyed my time there.

But I don't think this has much to do with Avid at NAB.  Sorry for the hijack, guys.

This may have been covered on another forum but why clamour for MojoDX HD monitoring outputs when MC has full screen playback modus? It worked okay with v6.5

I haven't had to use full screen playback professionally - I'm still moving slowly from Meredien v12 to a fully fledged MC HD setup (coming sometime soon) - so feel free to enlighten me (or send me to the right thread).

Rodney

PS I'm REALLY looking forward to Avid's new boxes!!

You can't color correct using the full screen option Rodney.

I assume you mean you can't colour correct accurately with FSP, B'dog? You can of course use the colour correction tools while FSP is active...

Yeah and I can drive my Explorer at Talladega  too, doesn't make me Dale Jr.

Yes, that was what I meant.

Thanks BLKDOG und Swil.

I'm an editor not a colourist, so that doesn't sound like a big problem for me. No other reasons to shy off FSP?

RodneyinMunich:

I'm still moving slowly from Meredien v12 to a fully fledged MC HD setup (coming sometime soon)

Maybe DX should be called Meredien's revenge. For all those Meridien owners smart enough not to go down the MCA path.

 I'm an editor not a colourist, so that doesn't sound like a big problem for me. No other reasons to shy off FSP?

.- No intelaced video

not frame accurate AT ALL.

no 601 color space, only RGB overlay.

Very low quality.

Difficult to setup as a third (client) monitor (the infamous Mcfly scheme)

 

Anyway, everyone has different needs.

If the FSP suits your needs, then use it and enjoy.

For me is not enough, not even close.