ohhh boy ohhh boy, i own a production house working with avid media composer and also work in a tv broadcasting local station well one of the most important here in Mexico working with final cut pro, and let me tell you guys that final cut is making me losing more time every time that i have to make a small decision in my editing and have to render all over again, Avid is for me more reliable, etc. but the best nle software is the one you know the most. for me the best nle is avid media composer period
luca.mg:Not exactly: Final Cut has been available for "free" since the beginning, in the early 2000s, while cracked Avid software has been available from the late 2000s, roughly 5 years of wild spreading of the Apple's editor
Sorry... but at this point I have to ask where you're getting your data from???
and I wonder if the weaker protection of Media Composer is a company "strategy" to be3tter compete with Apple.
You mean the dongle? People had the dongle bypassed years ago. It never really stopped anybody. You can download a cracked copy of Sony Blu Print if you wish.... and it's still using dongle protection. Heck.... the Blu Ray disk wasn't supposed to be crackable, and it was cracked brfore the bluray/hd dvd war had ever completed.
I would suggest to you that maybe the PRICE of Avid software had more to do with any misbalance between fcp and mc in earlier days. If I am not mistaken MC was more along the lines of $5000 up until a few years ago.
johnlucas88: and you work for city hall....almost. well you record their stuff.
and you work for city hall....almost. well you record their stuff.
Huh????
Larry Rubin
Senior Editor
The Pentagon Channel
www.pentagonchannel.mil
jeando: In MC5 I thought that I was going to have new effects... and I discovered the same old and cheap effects that were in my old version...
In MC5 I thought that I was going to have new effects... and I discovered the same old and cheap effects that were in my old version...
Well everyone has his or her own reason to by a software, but I am sure most of the users do not buy because of the effects, as even moviemaker has more effects than avid. You buy the software because it is the tool that you know, that fits the best in your everyday work, into your workflow, and gives the easiest and cost effective opportunities to do online for video and audio. So that could be fcp, but that can also be avid. So there is no real answer to "which one is best", it is more "which one is more effective for me".
We all know that Mercedes build the best cars (that is not my opinion), but a Fiat is okay as well as it is most effective for a lot of people ;) (i don't own a fiat either ;) )
So why do I not buy FCP? Because I do not know the software. And that is because there is no need for me to know it, right now.
If I want some fancy effects, there a plenty of plugIns that you can buy, but all in all, you have a powerfull effects editor that lets you generate millions of effects by yourself. So why would I want to have 100 differents dissolves?
-chris
Chris Aust
Munich, Germany
Avid Workflow Consultant | ACI | Trainer
Splash!Zone
Cutarrh:We all know that Mercedes build the best cars (that is not my opinion), but a Fiat is okay as well as it is most effective for a lot of people ;) (i don't own a fiat either ;) )
Really? The best cars for WHAT exactly? (and it is most certainly your opinion and not a fact...)
And that actually is the nub of the Avid v FCP debate. Tiring and dull though the debate is, it comes down to which tool suits you for which job.
Well actually I own two Jag and one Audi, so that is not my opinion either. So it is a Jag that suits me to do my jobs ;)
Cutarrh:So why would I want to have 100 differents dissolves?
Because you can! That's the thinking of people who confuse slapping on effects with editing.
I remember back when I was in film school at USC in the early '80's, taking a film editing class from one of the oldtimers--now deceased--who had taught George Lucas in the '60's. Film dissolves were an "optical" effect...everytime you used a dissolve it cost money. This old professor used to say, with sarcasm and his tongue planted firmly in his cheek, "If you can't solve it, dissolve it!" He insisted opticals only be used for transitions...and not because we could not solve an editing problem.
I love having all these effects at my fingertips in the Avid Effect Palette, but I still hear my old professor's admonition about editoral restraint and the proper use of effects everytime I make a cut.
I have a fantastic editing assistant. He stays by my side when I edit...doesn't talk too much...and thinks I'm a genius! Check him out here: www.youtube.com/watch?v=ZQVkYaaPO6g
Terry Snyder:"If you can't solve it, dissolve it!"
Or as we used to sing:
"If you can't Fix it - Mix it!"
Years ago, I had an editor friend at CBS in New York who had a parrot trained to say "Fix it in the mix, fix it in the mix!"
RE: Years ago, I had an editor friend at CBS in New York who had a parrot trained to say "Fix it in the mix, fix it in the mix!".........Larry, I know I'm going a bit off-topic, but speaking of CBS in NYC "years ago" when I was a 3/4" Sony U-matic newstape editor at KPIX in San Francisco, I put together a resume reel for our 11PM News Producer named Jeff Fager who subsequently got hired by CBS News to be one of a few Associate Producers of their new graveyard offering "Nightwatch" based in New York. I think Jeff did pretty well...Within a few years he ascended to become Producer of "The CBS Evening News with Dan Rather" followed by segment Producer of "60 Minutes" and with the retirement of Don Hewitt, he currently remains Executive Producer of "60 Minutes." It's nice to know that I took a small part in his success. Larry, I don't know if you personnally know Jeff, but he was a true champion of producing excellent stories with cuts-only. He always told me a great story will hold viewer interest, not "whiz-bang" video effects. In other words, his productions didn't require a "fix in the mix" because the storyline was great to begin with.
I've been an editor for more than 30 years. I got my degree in Journalism in the 70's. Back when I started editing, if I absolutely had to make a dissolve, I had to stretch my arms as far as possible to hit the play buttons on two 2-inch Quad VTRs, yell to the chief engineer across the hall to hit the record button on the 3rd Quad, then run to the switcher to pull the fader arm at "precisely" the right moment. Even though it's incredibly easy to add effects today, I still believe any effect should be completely driven by story content, not simply effects for the sake of effects!
As for FCP vs. Avid, as has been stated many times already in this thread, good editing can be done on just about any system - as long as the editor can use his tool of choice to tell the story in the most seamless manner possible.
Years ago while skiing with an old friend, I asked him if he ever wanted to learn how to snowboard. His reply: "I've spent 30 years learning how to keep these two boards strapped to my feet without falling on my ass. Why on earth would I want to beat the crap out of myself again, just to accomplish the same thing, flying down the mountain and enjoying the great outdoors?" I feel the same way with my Avids; I've spent years and years learning this tool and they have rarely caused me pain. I also own FCP, but because I've edited on Avid products for over 20 years, I choose the tool that's most comfortable for me, without bruising my backside.
Editmvp:...I still believe any effect should be completely driven by story content, not simply effects for the sake of effects!
This credo has driven my professional life for as long as I can remember. Effects should be used carefully and only when they enhance the message and the style of the story being told. Gratuitous effects plastered into a piece for the sheer sake of having an effect sticks out like the sore thumb that it is and makes a piece look amateurish. I can't tell you how many times early on in my career clients would come to me with absolutely boring, horrible content and say, "Can you spice this up and make it interesting with a lot of fancy looking effects and such?" I would turn to them and in so many words say: You can take a turd and you can polish it and polish it and turn it over and polish it some more, and what you will wind up with is something that's very shiny, but it's still a turd.
Larry
I know I shouldn't ask this but it's cocktail hour out here. How do you polish a turd?????
Regards
Mike
What can I say? You do the best you can with what you have to make the customer happy, but you know you'll never want a copy of it. I'm grateful I don't have to do that anymore, but I was a lot younger, a lot poorer, and I needed the bread.
Saylur: Larry I know I shouldn't ask this but it's cocktail hour out here. How do you polish a turd?????
Search for a particular episode of Mythbusters: they actually proved that you can polish a turd.
Chris
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