Digital Video - October 2008 - (Page 23)

unique, industry-changing platform that I embraced early and have been able to do everything I need to with nearly every request thrown at me. Whether I’m on the road with my MacBook Pro or at my studio with my AJA Kona-based Mac Pro system, I can edit nearly every format and output anything that is needed from any client. LENNY MESINA: On some projects I’ve had no choice but to edit on Final Cut Pro. I’ve heard the groans and complaints from other editors when starting up a FCP project, so I know I’m not alone in saying that the Avid is a far superior editing system. Actually, I’d even venture to say that 99.99% of the editors I’ve worked with came up using Avids and would claim it to be their system of choice, by far. I mean, there’s a reason why so many talented editors map out their Final Cut keyboards to mimic that of the Avids. And there’s a reason why so many of these same editors prefer to stick with Avid rather than completely switch over to FCP. Avid Media Composer is my weapon of choice. Speed and efficiency are two crucial traits necessary in being an effective editor, and the Avid’s intuitive layout completely allows for that. The logistics of editing within a timeline, the interface between source and record monitors, and the simplicity of the keyboard shortcuts make for a much more maneuverable system so you’re not constantly bumbling around going through multiple steps in order to perform simple tasks. Ultimately, both are just tools for making films, and if you can edit with either, than so be it. ERIC POYDAR: I started on a Media 100, then eventually got onto an Avid and haven’t looked back. Yeah, it’s been affordable over the past 10 years to be on that “other” system, but that’s all changing as we speak and things are almost back to how the NLE gods intended them to be. Let’s not fool ourselves, Avid’s the industry leader and always has been. They have the best interface and handle timecode and media in general better than anyone else. Period. SCOTT WITTHAUS: I prefer Avid Media Composer for all of my commercial work since most of those jobs still go from an “offline” to an “online” or finish suite. Media management and accurate online lists — be it EDLs or AFEs — are critical for me with what I do, and Avid is clearly the best at that. With the newest version of Media Composer [v3.0] and the great strides being made — like handling multiple formats — I’ll be moving my jobs beyond commercial work over to Avid Media Composer 3.0 software. My clients really don’t know or care to know what software I am using, as long as their product is good and the process for getting that product was enjoyable. It’s really up to me to choose the platform based on the specs of a particular gig. I was an early adopter and still am a rabid fan of the Avid DS system. I beta tested early versions and was a poster boy for the product when it was owned by Softimage. I feel this is the best platform Avid has in its product line. As I’ve focused more and more on the creative editorial offline process, I get less and less time on the DS. I’d love to be able to jump back on it, but it has advanced too far and I’ve forgotten too much! DV: Which formats do you use most often, and why? CHARTRAND: I’m especially fond of the flexibility of P2 HD tapeless format and the Panasonic HVX200 camera. The super-clean DVCPRO HD format is so easy to work with; it looks fantastic and is handled Q& A http://www.panasonic.com/avccam http://www.panasonic.com/avccam

Table of Contents Feed for the Digital Edition of Digital Video - October 2008

Digital Video - October 2008 Contents First Look: Creative Suite 4 D800 Raid Edirol F-1 Video Field Recorder Universal Dolly BT-LH1760 Monitor Bench Test: XDCAM EX PMW-EX1 Camcorder The Dead Can Dance Cutting Crew Unrest In Peace DV101 Production Diary

Digital Video - October 2008

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