Comments on: FINAL CUT PRO, OR AVID ADRENALINE http://lfhd.net/2007/12/09/final-cut-pro-or-avid-adrenaline/ High definition editing from the trenches... Tue, 07 Feb 2012 14:26:42 +0000 http://wordpress.org/?v=2.9.2 hourly 1 By: Anonymous http://lfhd.net/2007/12/09/final-cut-pro-or-avid-adrenaline/comment-page-1/#comment-595 Anonymous Tue, 18 Dec 2007 14:11:00 +0000 http://postfifthpictures.com/lfhd/2007/12/09/final-cut-pro-or-avid-adrenaline/#comment-595 DaVinci is tape to tape. No capturing involved. DaVinci is tape to tape. No capturing involved.

]]> By: Shane Ross http://lfhd.net/2007/12/09/final-cut-pro-or-avid-adrenaline/comment-page-1/#comment-569 Shane Ross Sun, 09 Dec 2007 23:19:00 +0000 http://postfifthpictures.com/lfhd/2007/12/09/final-cut-pro-or-avid-adrenaline/#comment-569 Yeah Scott, that was the issue I was getting in talking with Avid experts. Getting DVCPRO HD 720p 23.98 from Varicam and P2 and deliver a 1080p 23.98 master is quite a task. Requires a LOT of rigamaroll. So much it made my head spin, and sold my producer on FCP.<br/><br/>It was precisely because of Avid's handling of DVCPRO HD footage that prompted my leap to FCP 3 years ago. And it worked so smoothly I hesitated to look back. <br/><br/>And Joseph, there are DEFINATE workflows that are best left to an Avid...I agree. And this isn't one of them. This format and workflow is definately FCP territory.<br/><br/>And we will be using ProRes for finishing, not "offline editing." And seeing how much time and money is spent on the ONLINE and Color Correction process makes my head spin. Yeah Scott, that was the issue I was getting in talking with Avid experts. Getting DVCPRO HD 720p 23.98 from Varicam and P2 and deliver a 1080p 23.98 master is quite a task. Requires a LOT of rigamaroll. So much it made my head spin, and sold my producer on FCP.

It was precisely because of Avid’s handling of DVCPRO HD footage that prompted my leap to FCP 3 years ago. And it worked so smoothly I hesitated to look back.

And Joseph, there are DEFINATE workflows that are best left to an Avid…I agree. And this isn’t one of them. This format and workflow is definately FCP territory.

And we will be using ProRes for finishing, not “offline editing.” And seeing how much time and money is spent on the ONLINE and Color Correction process makes my head spin.

]]> By: Joseph http://lfhd.net/2007/12/09/final-cut-pro-or-avid-adrenaline/comment-page-1/#comment-568 Joseph Sun, 09 Dec 2007 23:06:00 +0000 http://postfifthpictures.com/lfhd/2007/12/09/final-cut-pro-or-avid-adrenaline/#comment-568 Working with DVC pro HD in FCP is quite nice, although I would reccommend going to Apple Prores 4:2:2 (HQ), if you can't handle uncompressed, at least for finishing, if not editorial. You can see the difference, especially if you're doing a fair number of effects.<br/><br/>I'm in a bit of a similar situation, I've been doing some side work with a production company who ends up getting nailed in the balls on their online, while for the price of one of their onlines, I could *build them an entire room*.<br/><br/>The problem is convincing the distributor/network...<br/><br/>Working DVCPRO HD in avid is something I dread.<br/><br/>Avid's quite nice when dealing with established workflows, but I ould not try to deal with P2 or anything 23.98 footage with avid. Too many bad memories. Working with DVC pro HD in FCP is quite nice, although I would reccommend going to Apple Prores 4:2:2 (HQ), if you can’t handle uncompressed, at least for finishing, if not editorial. You can see the difference, especially if you’re doing a fair number of effects.

I’m in a bit of a similar situation, I’ve been doing some side work with a production company who ends up getting nailed in the balls on their online, while for the price of one of their onlines, I could *build them an entire room*.

The problem is convincing the distributor/network…

Working DVCPRO HD in avid is something I dread.

Avid’s quite nice when dealing with established workflows, but I ould not try to deal with P2 or anything 23.98 footage with avid. Too many bad memories.

]]> By: editblog http://lfhd.net/2007/12/09/final-cut-pro-or-avid-adrenaline/comment-page-1/#comment-567 editblog Sun, 09 Dec 2007 20:16:00 +0000 http://postfifthpictures.com/lfhd/2007/12/09/final-cut-pro-or-avid-adrenaline/#comment-567 Ahhhh the choices. To me, the headache of working with DVCPRO HD on Avid is too much of a pain. I am working on a multicam concert (6 cams x 2 shows) show Varicam 23.98. My suggestion was all FCP, capture full rez with no online. The director is an Avid guy (who will do some editing) and wanted Avid. So offline must be Media Composer with online on Avid DS. After many tests and research we got on the phone with Avid who stated that the only supported MC to DS workflow is capture Media Composer at SD 29.97 and online DS at 1080i 59.94. Avid doesn't support the flagged frames for 23.98 on DVCPRO HD tape. And DS can't deal with a 23.98 list. I tried a test bringing in Avid SD 23.98 but no luck. Avid can support DVCPRO HD off of P2 media. But even with the Avid tutorial on how to low rez with P2 media it leaves no option for having to use DVCPRO HD tape in the workflow. Much less going to a DS if you have to. <br/><br/>Moral of the story? You have very limited options and workflow with DVCPRO HD Varicam and P2 media in Avid. Many more of those options in FCP. Ahhhh the choices. To me, the headache of working with DVCPRO HD on Avid is too much of a pain. I am working on a multicam concert (6 cams x 2 shows) show Varicam 23.98. My suggestion was all FCP, capture full rez with no online. The director is an Avid guy (who will do some editing) and wanted Avid. So offline must be Media Composer with online on Avid DS. After many tests and research we got on the phone with Avid who stated that the only supported MC to DS workflow is capture Media Composer at SD 29.97 and online DS at 1080i 59.94. Avid doesn’t support the flagged frames for 23.98 on DVCPRO HD tape. And DS can’t deal with a 23.98 list. I tried a test bringing in Avid SD 23.98 but no luck. Avid can support DVCPRO HD off of P2 media. But even with the Avid tutorial on how to low rez with P2 media it leaves no option for having to use DVCPRO HD tape in the workflow. Much less going to a DS if you have to.

Moral of the story? You have very limited options and workflow with DVCPRO HD Varicam and P2 media in Avid. Many more of those options in FCP.

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