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  • Fri, May 29 2009 9:29 PM

    • Kirk Arnold
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    Chat With Avid Forum Responses – May 2009

    All,

    Thank you for all of your questions and your interest in the “Chat with Avid” forum.    I have taken a look at your comments and feedback and, while I would love to be able to say that I answered them on my own, I did enlist the help of some of my colleagues in the marketing and product management organizations.  In some instances, due to the reporting and regulatory requirements that prohibit us from disclosing details about future product features and releases, we have had to be more general with our responses.

    My colleagues and I look forward to the next round of questions and comments.  Now that we have some experience with this format, we will plan to post the responses earlier for the next quarter – week of August 10.

    I want to assure you that the information provided by all of you in this forum is helping us to better understand your needs and is invaluable to our future product development plans.   I hope that our responses and our recent product releases are starting to demonstrate the efforts we are making on your behalf.

    Kirk

     

    EDITORS NOTE: There are eighteen questions and answers in the month's response. Due to the length, each Q&A was posted as a separate reply to the original post. To jump to a specific question and follow the thread use these links:

    Question: Will Avid Have an Answer to Color?

    Question: When will you get it?

    Question: 3rd Party Hardware I/O?

    Question: Stop scaring prospective customers

    Question: Avid Software I/O

    Question: Are You Widening and Making More Efficient the Development Pipeline?

    Question: Clarify Product lines (1 of 2)

    Question: Clarify Product Lines (2 of 2)

    Question: Avid's New Software Activation and why it needs to be tweaked.

    Question: Stop Tolerating Persistent Bugs

    Question: What about a video

    Question: What Avid Needs!

    Question: Alpha channel pass off with spectramatte

    Question: DNxHD 36 and 1080 interlace

    Question: Support for Avid User Groups

    Question: Mojo DX & Pro Tools|HD

    Question: JVC GY-HD100/200 and 720/30

    Question: HDV and capturing under Vista64

  • Fri, May 29 2009 9:37 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: Will Avid Have an Answer to Color?

    Avid used to be known as having superior color correction to Final Cut. But all that changed with Apple's integration of Final Touch, a.ka. color. Final Touch was a standalone grading and DI tool that cost a few too many thousands of dollars, depending on how it was configured.

    It was a knockout blow to Avid's color correction supremacy.

    Avid's response has been to essentially ignore that Color even exists. When I've mentioned Color to Avid folks here in LA, I hear "Well you know it's a separate app." The retort to that is what separate app does Avid offer that is comparable to Color?

    I know there are workaround to get close to Color by using various layers and mattes, but it's not nearly the same.

    Color is so effective, that one of the biggest Avid resellers here in LA recommended to me buying a Mac and Final Cut just for Color, because Avid has no alternative. I came up with the idea of using a DS Assist Station, but that's no longer sold, and may not have been a truly viable option anyway.

    And in truth, for grading only, Color is probably better than either DS or Symphony. When FCP has grading tools that are quite possibly better than what's found in your high-end finishing solutions, you should be very concerned... err... worried. I aware that DS offers an extensive toolset that make it very attractive for the right user, and that color correction is truly integrated into Symphony (instead of a separate app like Color is). But Color has better vignetting than Symphony and a control surface interface which no Avid app has. And I know professional colorists who do use Color, I've only met one who uses Symphony and none who use DS. It is true that my Rolodex is not filled with colorists.

    Now I know that Avid's retort has frequently been that it's the best editing platform. And it probably is. But it used to be the editing platform with the best color correction toolset. Why has Avid been so willing to relinquish that advantage for so long?

     

    Answer:

    Citing Color as a separate application from the editor is shorthand for referencing the extra steps required in the workflow to manage the color grading process - exporting a sequence from the editor, working with it in a separate application without key components such as audio, and the difficulties working with certain projects types such as multicam sequences.

    Avid's color correction tools, accessed directly from the timeline, are designed to work seamlessly within the editing environment. Avid's color correction tools compare favorably to the competition's onboard correction options, and we continue to innovate.   We recently added key frame capabilities to our color correction tools in Media Composer and Symphony (version 3.5 released in March).   In addition, last year we added Symphony-style secondary color correction to DS (version 10).   We appreciate your candid feedback as we are continually looking for ways to improve our tools.

  • Fri, May 29 2009 9:42 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: When will you get it?

    Hi

    A little background. I am a video professional working in New York with over 8 years of experience working with avid systems including symphony nitris, composer and software systems. While I must applaud the changes that Avid have initiated over the past number of years, the software only pricing the newer dx systems and the moderate integration ala final cut pro suite integration. I am a fan no doubt and will recommend and choose avid as my system of choice in virtually every situation.

    However, there are a number of refinements I would love to see the system get better at. The most important I feel from a professional stand point is the chronic lack of allowing other software access the Avid Input/Output device be it nitris dx , composer nitris dx or the mojo dx. Whether you like it or not the market as it is now many times requires flexibility with the software used on any system I run platforms that have both FCP and Avid on the same system. And often use both in any one project depending on client needs budget and demands.

    I can purchase an input/output device such as a aja kona card( a lot less that your mojo dx) and have after effects, motion, Fcp, Color.and other programs all be able to access it for input/output to decks and production monitors. Now comes avid and i can only use it for avid (and sloppy integration with aftereffects). There is no doubt to me that avid is a superior editing system however in terms of input/output it is a disaster when it comes to modern edit realities.  I WANT TO WORK IN AVID AND IT SEEMS THAT IT IS HIGH TIME

    AVID MADE ITS HARDWARE PRODUCTS OPEN TO OTHER APS. I want it to be the input/output device for the system not just avid. This to me then makes a compelling argument to my clients to purchase avid hardware at the additional cost and have it be the input/output device for any program on the system. Moving to no dongle license is great ( you finally realized that a lot of editing is done on the road so to speak and carrying a dongle around is a recipe for disaster). It would be helpful if your protools could integrate without the need to carry around a usb mbox which is (in my opinion) subpar anyway, ala soundtrack pro which if you haven't noticed is getting better and better all the time and imports omf and aff without additional (overpriced) software ( I am referring to your $500 digitranslater). I find myself more and more using it as i do not wish to drag an inefficient m box around with me and use up yet another usb port. It is also the reality that clients are cutting corners at every turn and forgoing a second protools session and mixing in edit. I use soundtrack pro as it is part of the suite and it is very effective and again i don't need an mbox or aqny additional hardware to use it. More and more clients are hesitant to work in avid for these reasons, they are not stupid and if they are paying more they expect to get more.

    I would expect this feedback will be ignored however it is something you should know and understand. Particularly in the current economy it is getting harder and harder to justify the much higher cost of avid systems when they are so in flexible.

    Yours Sincerely.

    spud

     

    Answer:

    I appreciate your honesty and your open feedback and hope that you will be assured that while we may not be able to respond to all the requests our customers make, we do take our customer feedback seriously.  Your first question refers to something we call "openness".  We agree with you that we need to open our hardware to work with applications other than Avid software and over the past year we have made good progress towards our strategy to deliver expanded openness for our customers.  I hope you will agree that ProTools and Media Composer on the same box certainly is a good start; and in the future you may even see them both working as open applications on a session at the same time.

    We have also recently announced qualified support for Final Cut Pro with ISIS and are working on a number of other openness initiatives around the company.  Due to financial reporting and regulatory restrictions, I can't disclose details about future feature development, but I ask that you take a look at our product announcements over the past year to see our progress and keep an eye open for new product announcements that demonstrate our commitment to deliver an openness strategy that makes sense for our business and more importantly for our customers.  You also asked about Software Licensing on ProTools and I have some good news to share with you - we are looking at implementing the Media Composer software licensing schema across all Avid products in the next year or two.

  • Fri, May 29 2009 9:45 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: 3rd Party Hardware I/O?

    Kirk -

    Very nice to see you and the new management taking an active part of the forum.  Welcome!

    My biggest complaint about Avid is it's inability to work with 3rd pary hardware for input/output/monitoring.  If you look at all of the ads for companies like Decklink, AJA, Motu, Matrox, etc., they all tout that they work with Adobe Premiere and Apple Final Cut Pro.  Us Avid users are stuck with the Mojo (with its consumer connectors), Mojo SDI, and now the Mojo DX and Nitris DX.  The Nitris DX is a great device for all I/O, and in my opinion priced fairly reasonably for all of the features that it provides.  But will

    Avid and its "New Thinking" open up their architecture to let Media Composer work with those same cards and devices as the other editors use?  I would love to buy a Decklink or an AJA that has much more capability than a mojo for the same (or even cheaper) price.

    Please give us the option to use I/O hardware other than Avid brand OEM devices.


    Answer:

    We understand that there are many input/output devices available to you today.  We also understand that as a customer you want to have choices and flexibility.  To help provide you with more choices we are actively exploring the possibility of qualifying third-party devices.

  • Fri, May 29 2009 9:46 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: Stop scaring prospective customers

    The supported system mantra should be a thing of the past: there was a reason for strict hardware requirements back in the days when computers were not as powerful as they are today and Avid was filling in those boxes with many proprietary boards in order to squeeze the most out of those underpowered workstations; today we have plenty of computing power in our shops, more than enough power to run the software, and all is required to run the latest Avid hardware is an empty PCIe slot; Avid should really publish guidelines for assembling MC capable computers and stop advertising the editor as expressly made for top of the line Mac and HP workstations only. As many across the forum can verify MC and the DNAs successfully run on so called unsupported systems, we all know that an Intel CPU is preferred, an nVidia card is required, a Soundblaster board might help: publish this info in the supported systems page instead of scaring prospective customers with strict system requirements that apply to the past but are meaningless today, and make future releases of the software more hardware independent/tolerant, You could start with supporting non Quadro nVidia cards: very popular, powerful, inexpensive, and already supported on the Mac. As largely admitted across the forum the only real reason for certified systems is to give the support people some peace of mind, is this worth losing potential customers?

    P.S. Talking of hardware, please allow Avid DNAs to run with non Avid software and allow non Avid I/O hard ware to run with Avid while aligning the I/O boxes prices to the competition.

     

    Answer:

    Thanks for your question.  Although we would like to become more open in our approval of CPU's in the future, at the current time we still feel it is important that we continue to qualify and approve CPU's for use with our editor products.  Our qualification process does not start and end only with the editors.  We provide an extensive test suite of all Avid components and systems, including ISIS, MediaNET, Interplay and Video Raid.  We still provide a "System Solution" and many customers want to only purchase systems that have been approved by Avid.   We also maintain a very close relationship with our CPU partners, HP, DELL and Apple Computer.  These relationships give us direct access to engineering resources to ensure that our testing issues are resolved quickly; they also give us direct access to upcoming technologies so we can provide our customers with the very latest technology for their systems.

  • Fri, May 29 2009 9:48 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: Avid Software I/O

    1. When (if at all) will Avid be able to easily exchange media and sequences with After Effects, Color, Shake and the rest of the world?

    2. Do you plan to implement support for Apple XML (Final Cut) or other format to import/export from/to FC?

     

    Answer:

    Unfortunately, I cannot disclose specifics about future release features.  However, I can let you know that we are working very hard towards transforming our business to deliver an array of Avid products that work with as many industry products as possible.  In fact, we recently announced qualified support for Final Cut Pro with Avid ISIS.  Look for similar product offerings in the future as Avid carries out our openness strategy to meet the needs of our customers.

     

    3. Would it be possible to release a comprehensive manual for console commands?

     

    Answer:

    Avid uses console commands for many reasons.  Sometimes we will disclose functionality to users to enable a specific feature.  However, sometimes we use console commands for development purposes.  Because of this reason, we cannot disclose the list of console commands beyond what is already published.

  • Fri, May 29 2009 9:49 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: Are You Widening and Making More Efficient the Development Pipeline?

    Getting a feature added to Avid often times takes a very long time. There are requests that have been out there for literally a decade that have not been acted upon. And there is little communication between the company and the customers.

    We keep reading about precious development resources, and I'm sure they are precious. But if they are spread so thin, do you have the ability to keep pace with the competition?

    And what steps are you taking to better allocate Avid's limited resources more towards product development?

    That said, over the past few months, Avid users have been treated to MetaFuze, 3-D editing and AMA. Rack up a quarter for Avid users for a change. It feels really nice to be ahead of FCP with new features. PLEASE keep up the good work!

    Answer:

    Thank you for this question. I am glad to see some of the products and features we have delivered recently are useful to you as a valued Avid customer. Due to the diversity of customers we serve in a broad range of workflows and markets, not all of the products, features and services we develop can be utilized by all of our customers. I guess what I'm trying to say here is that we have delivered many other enhancements recently that Avid customers have appreciated in addition to the things you mention (MetaFuze, 3-D and AMA).

    We strive to optimize all our efforts - including development resources - to do the things that add the most value for the largest number of Avid customers. You mention that we seem to have our resources spread thin across a lot of areas. It is the nature of the business that we never have enough resources to do everything we want to do for our customers. That being said, we do have hundreds of engineers developing new capabilities for our customers every day. Over the last several months we have adopted the Agile product development methodology to ensure that we are as productive as we can be, but also to ensure that we can respond quickly to customer needs. In less than a year, we have shipped two major releases of Media Composer - v3.0 and v3.5. I hope these big releases show that we are moving faster than ever to deliver new capabilities at a high level of quality.

    I also want to assure you that we do have continuous interaction with customers at all levels of Avid - in focus groups, advisory boards, user groups, online forums and communities, trade shows and many other venues. One example of this is the regular meeting we have with the Editors Advisory Committee in Los Angeles. I have personally attended the meetings we have with these prominent editors (including several Oscar winners) and we have implemented some of their suggestions in the last two releases. Another thing to note is that the Agile development process I mentioned above requires continuous interaction of real users with the development teams (coordinated by our beta programs) during the design phase before implementation as well as during the validation phase after implementation is complete. Today we are working more closely with customers than ever.

    One of the questions you ask has to do with how we prioritize features for development. We have an internal database of requests and ideas that come from a variety of sources including customers. I recognize that this list of priorities is not visible to individual customers like you, but want to let you know that we are evaluating different options for getting input from customers on relative priority of features using a web-based "voting" tool. Stay tuned for more on this. On the whole, we are always trying to focus our development teams on features that have the highest value to our customers. Sometimes it is the smaller things that matter most, which is why we are starting to implement smaller workflow and user interface features with every release (such as select left/right) and we plan to do more.

  • Fri, May 29 2009 9:52 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: Clarify Product lines (1 of 2)

    The Symphony needs to be retooled or merged to Media Composer. Over the years, the Symphony has given all its once unique features to Media Composer. All that's left now is advanced color correction. Either move the Symphony CC tool to MC or retool Symphony with updated finishing tools. I would opt for upgrading the Symphony as it is already branded as a finishing system. For starters, the CC tool should have the some of the capabilities that Apple's Color has. In particular, the multiple user drawn masking and vignetting tools. Updating real time scopes would be nice too. a few other suggestions,  2K, 4K support. native RED Workflows   import/read Final Cut timelines for on-lining ability to export Quicktime with an alpha channel.

    Answer:

    Thank you for your feedback regarding Symphony.  Many of our customers continue to find value with Symphony.  Symphony offers universal mastering and secondary color correction, features that are not available in Media Composer.  Symphony also offers value to customers interested in purchasing a pre-configured solution.  Avid offers pre-configured versions of Symphony for both Mac and PC.

  • Fri, May 29 2009 9:54 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: Clarify Product Lines (2 of 2)

    Avid touts itself as providing editing and finishing solutions. "Total Conform" being you can edit in MC and then bring the project over to a post house for finishing in Symphony or DS. But I've since learned that finishing in Symphony or DS is an exception rather than a rule. DaVinci, Assimilate, Pablo, etc. are finishing tools in Hollywood. The vast majority of feature films are cut on Avid, but I bet only a small minority are finished on anything with an Avid badge.

    Which begs the ?, what are Symphony and DS's purposes? Symphony has secondary color correction features that should have been added to MC long ago. But what else qualifies it as a finishing tool? It has not even real time scopes or subframe audio editing.

    Oddly, the tools that most MC users don't use but larger users might want, like ScriptSync and stereoscopic editing are included in MC. Perhaps those features be only part of Symphony? I bet MC users would much rather have native secondary CC and better audio capabilities than voice recognition and 3-D editing.

    FWIU, DS is quite capable for finishing, but it lacks a control surface that many find very important. And its Total Conform is less than total nor is it always conformed. I've read the "Conform Guide;" it's well over one hundred pages. AVX 2 plugins don't transfer. You can't just open an MC project in DS. As you get good at conforming, I'm sure it becomes pretty straight forward in most instances. But this is less than what is sold.

    MC is hamstrung because of a desire to protect what benefits Symphony offers. But the convergence of Symphony and MC is not only a function of market pressure to add more and more functionality into MC. It is also a result of Symphony not growing into a full-fledged finishing tool.

    So as it stands right now, Avid has an excellent editor which is dated in CC and audio, a finishing tool that easily opens MC projects but isn't anyones first choice for finishing, and a pretty darn capable finishing tool that doesn't have a control surface and can't seamlessly open MC projects.

    A solution would be to move Symphony and DS further up the production food chain. Making them real finishing tools would put distance between them and MC.

    Answer:

    Thank you for sharing your perspective about Symphony and other Avid products with us.  We continue to work with customers in identifying optimized workflows and appreciate your thoughts and suggestions.  Symphony and DS are used in a number of market segments where they are used for finishing.  An example is in Broadcast TV where Symphony and DS are used as cost-effective finishing systems.

    Our ongoing interoperability efforts include better use of Pro Tools in a Media Composer environment.  Recent improvements in co-installation of the two products as well as the innovative Video Satellite functionality are reflected in some of our most recent releases of these tools.

  • Fri, May 29 2009 9:55 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: Avid's New Software Activation and why it needs to be tweaked.

    I am all for getting rid of the dongle. I know a lot of people are annoyed with it and how easily it can be lost. I also see Avid's need to maintain control over where their software is installed. While I agree that the software activation solves both these issues, I would like to bring up this concern.

    Like most of the editors that shell out the 3k to buy Media Composer Software, I have 3 systems, one at work, one at home and one I travel with (laptop). Now my work system is usually an Avid. Which is why I bought MCsoft to have in the other 2 locations I need to use Avid software. At home for when I am doing a smaller single bay project. Or on my laptop when a client would like me to travel to their location. With a dongle this is easier than pie. Just pull it out of my tower, plug it into my laptop and I am legit and ready to go. With Avid's new software activation I will only be allowed to have the software functioning on one of these systems. Now I can see that for the cost of the software.

    Avid wants me to only be able to use it on one machine at a time. But I cannot justify buying two licenses when I'm not using both at the same time. Something has to be done to fix this issue... I suggest 2 activations with some form of network checking to make sure the software isn't running on the same network at the same time. Most other major software companies like Adobe and Maxon already allow for this.

    MAKING THESE LIMITATIONS ONLY HURTS THE PEOPLE THAT ACTUALLY PAY FOR YOUR SOFTWARE!

    Side thoughts: I'm a big fan of the Avid. I shun FCP all the time for it.  Very excited to see Avid FX make it to the Mac.  Glad I will be able to install Pro Tools 8 on the same machine at the same time with 3.5 though Pro Tools needs to build in the DV toolkit to be fully useful to me. If Avid would get a DVD authoring/Blu ray authoring package for the Mac with this bundle I would never need to install FCP Studio again.

     

    Answer:

    Thank you for supporting the removal of the dongle!  In our first implementation of software licensing, Avid has tried to maintain all of the flexible features in the new software licensing system that were previously available with the dongle.   We do provide an easy way for customers to have multiple installations of Media Composer, and allow for the same activation key to be used in these systems. Using the Activate/Deactivate feature, users can activate one system, use it, and then deactivate that system.  That same system activation key is free to be used on any other Media Composer system (the same system works for Symphony and NewsCutter) in the same location or any other place the user chooses.  The deactivate feature is a simple menu choice; you just have to choose a menu command to deactivate your system. In addition, when you reactivate that same system, we will remember your activation key information so you do not have to enter that information again. If you forget to deactivate your system, but want to use your key on another Media Composer system, contact Avid support and they can deactivate it for you.  Adobe and other software manufacturers also use similar activate/deactivate licensing systems.

  • Fri, May 29 2009 9:56 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: Stop Tolerating Persistent Bugs

    Avid is amazingly stable in many ways, multiple editors can all work on the same project without a hitch. This same scenario could kill FCP.

    But Avid also has amazingly persistent bugs. An infamous example is exiting MC with a firewire device connected. MC will probably cause a Windows error. Yes, you can turnoff the firewire device before exiting, but it just becomes one of many Avid annoyances that detract from the user's experience. Avid seems to sometimes have the attitude that a workaround is fix and that if an issue is disclosed, then it's no longer a bug.

     

    Answer:

    We completely understand how frustrating bugs can be.  At Avid we have a bug triage process where we attack bugs based upon their severity.  This might mean that bugs with a known workaround are viewed with a lower priority.  This could result in a minor bug that will persist in a future release, but it does not mean the bug will be ignored.  Every bug is logged and remains on our radar and part of our process until it is fixed.

  • Fri, May 29 2009 9:57 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: What about a video

    What about a video explaining the latest MC 3.5 software and other changes rather than a text press release?

     

    Answer:

    Thanks for your suggestion.  We also think this is a great idea and are already working on it!

    Some videos of v3.5 features are currently in production and will be posted to the video editing product pages very soon.  Plans for future releases include videos that highlight key new features.

  • Fri, May 29 2009 9:58 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: What Avid Needs!

    Here it is...

    We have clients day to day bringing us projects that are QuickTime based.  It is all dandy that I have talked the client into finishing on an Avid.  The reality is my client is going to suffer along with me as we import the QuickTimes and watch them be transcoded into an mxf type file.  This will take a better part of the day and has my client questioning the workflow.  I understand it is important to have the Avid create the metadata needed to track the file and use in the project but why I can't drag the QuickTime files into my timeline from the clients firewire hardrive and have them appear  real-time is a big letdown.  This is something the system they were working on at home was doing.

    It is very embarrassing to have an Avid believe this is an essential feature to have in today's world.  In DS V7 this was somewhat of a possibility with the link to QuickTime files which was not available in the next full release.  Please attempt to make this possible in all Avid Non-Linear Editors.

    Thanks for reading,

    Sam Crawford
    Director of Engineering
    Henninger Media Services

     

    Answer:

    We are actively working on QuickTime via AMA.  Thanks for your input.

  • Fri, May 29 2009 9:59 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: Alpha channel pass off with spectramatte

    I think next patch on MC has to find better way of passing alpha channel off when keying. This is a very cumbersome process right now often requiring the need to duplicate your Chroma Key footage to get a decent drop shadow. The current ability of promoting Spectramatte to 3D yields a drop shadow effect that is ancient at best.

    I've purchased AVX 2 Plugin Red Giant Warp in the hope that I can do Reflections/Shadows with spectra keys, but found that they have no alpha to work from because spectramatte doesn't generate one. Is there a fix on the horizon for this? Please say yes.

    Thanks much for any info.

     

    Answer:

    The issue you reference is an important one and requires a significant level of effort.  We appreciate your input and will keep you posted on our progress.

  • Fri, May 29 2009 10:00 PM In reply to

    • Kirk Arnold
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    Re: Chat With Avid Forum Responses – May 2009

    Question: DNxHD 36 and 1080 interlace

    Would love to have the eqivalent of the DNxHD 36 codec available in 1080 interlaced projects. Using down converted offline SD, with its lack of detail and color is embarrassing with almost all clients.

    Changing to a Progressive project to enable capture at DNxHD 36 sort of works but it is a clumsy workaround at best.

     

    Answer:

    Thanks for your suggestion.   When last we looked at this issue, we determined it would require nearly 100 megabits to match the quality of DNXHD 36 in the interlaced codec.  As a result, this is not currently a viable solution.  If our strategy changes, we will let you know.

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