This IS the Avid L2: Re: [Avid-L2] Time to ask the "R" question again?

Friday, November 2, 2018

Re: [Avid-L2] Time to ask the "R" question again?

Great question, and as with most things, we can often find answers for our present and future by taking a look at our past.

In the traditional linear editing suite, before personal computers had the power to host NLEs, everything was separate: You had the brains of the edit controller, the VTRs and DDRs to provide picture, monitors, audio mixers, a switcher, test scopes, etc.

A production well-budgeted would move to a sound mix studio, then a tape would comeback for the video editor to layback that finely mixed stereo track.

When Quantel invented the very successful Paintbox/Harry/Henry/Harriet/EditBox – the 'Photoshop and After Effects' of its day. I still keep those machines alive when I mentor people, as I do a linear edit suite.. Those were dedicated machines that focused on doing one general thing well. It didn't open your e-mails, browse the web, or do Microsoft Word. It was very fast and focused, plus, you wouldn't tie-up a seat while waiting for graphics/animation.

I have deep experience with DaVinci since it was "daVinci" in its $150,000+ days, when it did one thing well. I would like to see Blackmagic keep Resolve focused on "Finishing/Deliverables," and not try to be all things to all people, because, as a former, published coder, I know how complex it is to do any real-time video on a personal computer – hence why it took us so long to get NLEs to do "broadcast quality" (the first Avids for years was VHS quality for that reason).

As they keep trying to make Resolve an "Avid/NLE," and a "Pro Tools," it becomes clunky. Its interface was really designed for Color Grading. Having only 1 or 2 video tracks is easy; but for many in TV or effects-driven timelines, it gets complicated and cluttered, and I've never seen it better than on Avid Media Composer.

IMHO, this is why Avid is wise to not try and make Media Composer do "Pro Tools."

In almost all of the places I have Post Produced, Edited, Asst. Edited, Supervised or done Workflow consultation for, the Avid/PPro roundtrip to DaVinci was the best solution (all on ISIS/NEXUS) – if a simple fade or trim or title change had to be done and we were rushed for delivery, sure, we could do it in Resolve and be done with it, but being sure to re-conform that originating Avid timeline before archiving/deep cold storage. In rare cases, it still went back to Avid one last time before deliverables.

Doing complex, creative off-line/on-line editorial in Resolve has been tried, but it is challenging other than the simple, feature film "cuts" – where the cut has to be INVISIBLE, for the sake of the story. When doing car enthusiast videos for MotorTrend or 15-layer effects for a CBS Sports promo, there is a start of 5-8 video tracks and often it goes to 15 tracks – this is where the cuts, dissolves, DVEs, traveling mattes are VISIBLE, and we want them to be for its sizzle. In my humble opinion, Avid is king in this and media management regards.

If Blackmagic bought Avid one day, and it was an icon click away in its own interface and not Resolve's – only then would it make workflow sense.

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Keoni Tyler

Kitchen Table Editorial | Hollywood

All major tape formats in Machine Room

310.360.0228

Keoni.Tyler.KTe@Gmail.com

On Friday, November 2, 2018, 1:32:57 PM PDT, RRF Avid rrfavid@hotsprocketfilms.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

All,

I have been using Premiere Pro almost exclusively for the last three years after 20+ years on all flavors of Avid and several overlapping years on FCP 6/7. I didn't make the switch lightly and tried it out on several smaller projects before fully adopting it. I also teach Premiere to cinema students part time, which has helped me to find some of the more hidden goodies within it.

Generally, my experience with PP has been fine, and I appreciate that it has come a long way. But like any complex piece of software, it has quirks and/or bugs that can test one's patience.

Also, ever since working on the Avid DS for long-form finishing 15 years ago, I have always wanted an application that had well implemented editing, color and sound in one box. The DS was on its way to being that, but not quite there. Then of course it was EOL'd.

When Resolve 14 was released (and since moved to 15), I got very interested... Having come up through sound post along ago I have a particular interest in audio. I was intrigued by the Fairlight DAW as well as its new editing capabilities. Obviously color is its strength.

Resolve 14 looked great in theory, but after trying to put a moderately complex project through it in 2017 and having all kinds of issues I gave up on it.

One other thought - as I tell people, I don't get emotional over software and I don't evangelize either (well, I try not to). I just want the best tool for the job.

So my question: is anyone having sustained success with the latest version of Resolve for long form creative editing along with finishing/audio/color?

Thanks,

- Rich

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Posted by: Keoni Tyler <film35hd@yahoo.com>

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