My "Eureka" moment was after my first full day's cutting and I realised that
hadn't once thought about timecode. It was all about pictures, pace, flow,
with no technical 'stuff' getting in the way.
Tony
HD Heaven Media Limited (company no: 07061040) is registered in England and
Wales at Sapphire Heights Courtyard, 31 Tenby Street North, Birmingham B1
3ES
-----Original Message-----
From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of
Steve Hullfish
Sent: 11 November 2011 14:34
To: Avid-L2@yahoogroups.com
Subject: Re: [Avid-L2] Re: AVID kept their promise. - Biscardi blog.
I meant for my station. We definitely weren't looking at Lightworks. I
remember hands-on demos of Media 100 and Avid MC 5.0 in 1992. I can't
remember the specific reasons for picking Avid over M100.
I remember seeing a Lightworks as my FIRST ever "eyes on" NLE at a station
in San Francisco, though... probably in 1991.
That was probably the serious contender for a lot of film editors or spot
editors back in the day, but not for my TV station. We were cutting promos
mostly. After years of shuttling and racking 1" video tapes, I SOOO loved
random access to footage. "What? You mean I don't have to put the other reel
up to cut in a shot from the second half of the movie? NO WAY!!! That is so
awesome! And I don't have to shuttle for 5 minutes to see a scene at the end
of the reel? I just CLICK? TOTALLY COOL!"
"Wait a minute... what's a ... "render? Why do we have to do THAT?"
Steve Hullfish
contributor: www.provideocoalition.com
author: "The Art and Technique of Digital Color Correction"
On Nov 11, 2011, at 7:26 AM, Tony Quinsee-Jover wrote:
> "Media 100 was the other contender back then, if I remember correctly."
>
> Sure it wasn't Lightworks, Steve?
[Non-text portions of this message have been removed]
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