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If there wasn't then we wouldn't recommend them and they wouldn't be either good, or professional products. Any good NLE will allow you to interpret footage or set up a sequence any way you like it.
The Duelist wrote:Thanks! But I have another question. On these programs, I'm sure the export settings are endless, but what about the internal settings. The problem I keep running into on my current software is that there's no way to just pick a clip and say, "I want that to be widescreen." There just isn't an option. So in these products that you've suggested, are there a lot of internal controls that allow you to manage stuff like that?
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I completely disagree. I find that there's a nice middle-range that encompasses every skill and experience-level of editor that opens up and makes easier harder tools to use as both increase.
TKDMaster wrote:As your skill increases so should your programs.
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Ah, the Avid...
pdrg wrote:I'll wave the flag for Avid Xpress Pro - you probably won't buy it, and lots of people here will shout it down despite most of them never having used it, but it's got some real plusses...
1) it's a professional product (some 80%-odd feature and TV projects in the world touch an Avid)
2) script-based editing (import a marked-up script, and edit from there roughing out your timeline easily from there! This is WAY cool)
3) grouped camera editing (gang and sync upto 4 camera angles for the same event (eg multicamera shoot, live bands, conferences, etc) and then simply vision edit them in the timeline as if they were a live feed. Again, WAY cool)
4) Lossless HD editing (DNxHD intermediary codec)
5) Full native support for mixed formats and resolutions on the timeline - including DV, HDV, DVCPRO HD, 10-bit SD, native DV50, Sony XDCAM, Panasonic P2
6) Comes with Sorenson and DVD-it free
7) It's a power tool
Unlimited growth - you can move seamlessly to the higher power Avid systems (eg get a job in a newsroom/etc with dedicated Avid hardware - you'll already know the interface)
9) Mac and PC versions provided, so you can switch hardware without any change to your workflow
10) Work seamlessly with other Avid projects (eg finishing houses, etc)
11) There are heaps more...including some of the best colour correction available
The downside is the UI is not as simple as FCP/Premiere, nor is it cheap, but I have to make its case as you wanted a range of options and I didn't want you to think you were limited to consumer NLE's (FCP nudges the bottom end of professional, but Avid still is the industry de-facto standard)
I, for one, having tried a few tools, and having invested the extra effort to get to know the ways of the Avid, would never go back. Yes, it'll take you longer to learn than a lesser tool, but you only have to learn it once!
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Good choice. If you planned on upgrading to FCP later it's a very similar workflow and interface (same interface).
The Duelist wrote:Final Cut Express sounds good to me. I'm on a budget, $200 being the higher end after springing for Visionlab (so glad I did!). I'm on a Mac, so Vegas is out, and I'm a hobbyist filmmaker, but that doesn't stop me from making professional-quality (or almost) films. FCE sounds like what I need.
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Bryan, nice I like your summary and that's all good information - and you're totally right, Avid really isn't for everyone, and the other tools are getting more and more competitive (although I still see a lot of them as playing catch-up, but they're doing it well!).
Bryan M Block wrote:the whole script outlining feature- that is an INCREDIBLY useful tool that the Avid has that I've not seen anywhere else- I've read that it even has voice recogntiion now!
If you are working on projects that need to be portable to the next level or have serious organizational and high-end broadcast specs or interfacing with lots of hardware, you may want to consider delving into the Avid and learning it- it will serve you well as you progress in your career.
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Do you mean the network sharing? Again, this is definitely a great feature that Avid offers, but that no one I know is really using- so it becomes one of those so-called "advantages" that aren't really tangible to a one or two man shop, and especially the indie film-maker. I can see this being a big advantage in a larger post-production facility, but even in some of the ones I work in, they aren't really using these features. The thing I'm excited about is that now I am truly finding out EXACTLY what each platform can offer that the others can't- those are OBJECTIVE comparisons- whether or not you use them or how they are implemented are SUBJECTIVE comparisons and that's all I could get from AVID user's before. I mean, sometimes AVID editors are surprised that you even have color correction tools or 3D compositing in or something in Vegas or Premiere or whatever because their concept of what those programs really are is terribly skewed. I'm not into saying that one is "better" than the other- but I DO want to know what one offers that is different than the others, and it has taken me three years to finally get to what some tools are that AVID has that others don't- but at the same time, I still feel that there are many advantages of using other packages besides the AVID in many situations, especially as I learn more about those packages.
Arktic wrote:The main drawback of FCP in a professional sense (and also Vegas and any of the others) when compared to AVID is the lack of a fully functional Unity system.