![]() ![]() This is included with the base software as a manual process, but if you want to automate the linking, then the optional ScriptSync add-on will lighten the load. With Media Composer, you can set up the bin with the actual script pages and link clips to the text of the dialogue. This is completely different than simply attaching copied-and-pasted text to a clip. Script integration – Early on, Avid’s designers looked at how an actual written script might be used within the software. ![]() In fact, more layers become more confusing.Ĥ. I would argue that Media Composer’s inherent design makes more layers unnecessary. ![]() If you look at the default keyboard map in Media Composer, there are fewer layers than the other apps. For example, the keyboard position of JKL (transport controls) or mark/clear/go-to in/out is based on hand positions when placed on the keyboard and not an arbitrary choice by a software designer. Logical layout – When Avid started out, they sought the direct input from many working editors and this helped the interface evolve into something totally logical. Many editors spend a lot of time trimming and nothing matches Media Composer.ģ. It continues to be the best there is and has been augmented by Smart Tools for FCP-style contextual timeline editing. Trimming – Avid editors rave about the trim mode in Media Composer. Although negative cutting is all but dead today, this core tracking of metadata benefits modern versions of Media Composer and is still applicable to file-based workflows.Ģ. Avid built in tools to cut at 24fps and to track the metadata back to film for frame-accurate lists that went to the lab and the negative cutter. The actual final cut for release was done by physically conforming (cutting) camera negative to match the rough cut. Film metadata – At the start of the NLE area, Avid was an offline editing system, designed to do the creative cut electronically. Here are a dozen factors that I believe keep the equation in favor of Avid Media Composer.ġ. For others, it’s because Avid has historically incorporated a lot of user input into the product. For many, it’s because Avid was their first NLE and it felt logical to them. There are some concrete reasons why film editors prefer Media Composer. In fact, I’ve had many who are eager to learn Media Composer, precisely because they know that it continues to be the “gold standard” for feature film editing software. It’s all in what you teach, how you teach it and what you expect them to accomplish. As someone who’s taught film student editing workshops, my opinion is that it simply isn’t true. FCP X acolytes like to say how much easier it is to teach new users FCP X than a track-based system, like FCP 7, Premiere Pro or Media Composer. Most know how they need to manipulate the software tools so well, that thinking about what to do in the interface just disappears.Ĭhange is attractive to new users, with no preconceived preferences. As such, there is no benefit to one of these editors in changing to another piece of software, just because it’s the cool kid on the block. Instead, you are hiring them for their mind, ideas and creativity. When you hire a top-notch feature editor, you aren’t hiring them for their software prowess. Those days are long gone, so trying to make the argument based on cost alone doesn’t go very far.Įditing speed is gained through familiarity and muscle memory. Originally Final Cut Pro got a foothold, because it did well with file-based workflows and was very cheap compared to turnkey workstations running Media Composer or Film Composer. I would suggest that change for change’s sake is not always a good thing. They like to suggest that the interface is stodgy and rigid and just not modern enough. Lightworks and Final Cut Pro “legacy” have their champions (soon to be joined by FCP X and Premiere Pro CC), but Media Composer has held the lead – at least in North America – as the preferred software for feature film editors.ĭetractors of Avid like to characterize these film editors as luddites who are resistant to change. Avid Technology has had plenty of competition since the start of the company, but the majority of mainstream feature films are still edited using Avid Media Composer software. The editing of feature films is a small niche of the overall market for editing software, yet companies continue to highlight features edited with their software as a form of aspirational marketing to attract new users. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |