Re: [Avid-L2] Re: Milestone

I can understand how setting ins and outs on two different timelines is more efficient, but there's no need to really have two different monitors, right? As soon as you enable the timeline for the source, the "TV" monitors the source and as soon as you enable the timeline for the sequence, the "TV" monitors the sequence. I think it's the timelines that provide the efficiency, not the monitor itself, or you'd have a separate source and record "client monitor" too, and who's going to pay for THAT, or design edit suites to accomodate them.

I cut on Quantel Editbox for a while...my murky recollection was that that only had a single source monitor.

And on your other point about the patent...that was obviously something Apple got around...

Steve Hullfish
contributor: www.provideocoalition.com
author: "The Art and Technique of Digital Color Correction"
co-author: "Color Correction for Video: revised edition," "Avid Xpress Pro Editing Workshop" and "Avid XpressDV On the Spot"
presenter: Class On Demand's "Complete Training for Avid Media Composer" AND "Complete Training for Apple Color"
www.classondemand.net/media/final-cut-training/color01.aspx

On Mar 7, 2011, at 10:34 AM, Terence Curren wrote:

>
>
> --- In Avid-L2@yahoogroups.com, Steve Hullfish <steve4lists@...> wrote:
>
> <<I was trying to describe this to someone recently - the demise of the dual screen paradigm - and in a way, it's not that unusual. >>
>
> As I understand it, the reason other systems don't have a locked source record window like Avid does is that it is patented. It was Montage's patent, when Avid acquired them it became Avid's.
>
> And it was an improvement over the linear room without additional monitors. The ability to se your ins and outs of both your sequence and your source at the same time is very efficient. Just like 4 display trim mode.
>
>

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