Bruno Mansi

When I'm teaching Avid to my students, I start with a short presentation about how most features and long-form drama is edited on Avid. The question I'm often asked is why? My answer is that it's not necessarily to do with the editing itself, but the handling of metadata and the media management. The workflows with Avid are long-established and work reliably.

Interesting watch. They made it clear how carrying the additional metadata across to editorial is so important and mentioned ALE files, so I guess the normal route is to use these ALE files with Avid Media Composer. I'm wondering how they would get this extra metadata across with an editing app like Premiere Pro?

It's not always easy to judge a shot from a grabbed still, but it doesn't look particularly underexposed to me. It looks as if the dungerees he's wearing might be a bit black crushed, but I quite like the look of the rest of the shot. The cyanish backboard seems to complement his flesh tones nicely, and I'm not sure what you mean about it being too stylised. I'm guessing he's wanting some parrticular style for his video, and it's difficult to advise without knowing what look he's going for. The lens flair is probably the one thing I'd want to remove from this shot. This shouldn't be too much of a problem (especially if it's a locked-off shot) since there's plenty of background you can use to paint it out. If you become a Lowepost premium member there are many tutorials and case studies available that will help you understand the creative approach that many top colourists use in their daily work.

I'm astounded that a post house in India that's working on a feature, doesn't have one person who speaks English! I've found that in many Indian companies, the proportion of English speakers is quite high, and most Indian people regard learning English as essential if you want to get ahead in business.

I've seen this course and I think it's fine for those who are starting out. It's more of an overall perspective, including interviews with working directors. There's even a lesson where both the colourist and director take their cameras out, shooting video in a park, whilst talking about general issues with dynamic range, clipping etc. It's not so much about the theory of colour, but more about a personal approach to the problems one might experience as a colourist. Although Ollie Kenchington is seen working on Resolve, It's not really a course specifically designed to teach you on how to use the software. If I remember rightly, he even talks to a couple of colourists working in high-end, London (UK) facilities. For the experienced colourist, it might be interesting to see how a fellow colourist approaches a job, and the working relationship with his clients.

It's coming Friday.

This Nahimic service has also been reported on the Adobe forums as causing problems with Premeire Pro. I believe it's supposed to give some sort of surround sound through normal stereo audio channels.

Just posting this on a few forums as it may effect you if you're running previous versions of Premiere etc for compatibility with older projects. Rather than repeating what's been written, here's a link to an article by Daz Wallace. https://dazwallace.wordpress.com/2019/05/08/the-great-adobe-purge-of-19/

These are pretty standard requirements. I think broadcasters know that it can be quite difficult to suppress certain 'spikes' and make allowances for this. The BBC specs (shown below) are very similar to Adstream.

Did you talk to him in person? I didn't see any mention of this in any of the demos or press releases.

I've been wondering for a while if Avid would be retiring the Symphony option, and incorporating it into the whole Ultimate/Enterprise versions. But looking at the 'What's new for MC 2019', I read the following... "With the Symphony option (included in most licensing options) you can now create SMPTE Standard 2067-21 IMF packages..." So their philosophy still seems to be to have additional features (the advanced colour correction and IMF packaging) as a distinct option. It makes you wonder if there's more to come on the Symphony front ... i.e. DCP creation?

Were they putting anti-halation backing layers in nitrate film of the 1920's? Tried researching this on the internet, but haven't found any info about when these backing layers were introduced. Interesting other info I discovered whilst searching - is that there's a type of halation called Light Piping, especially with polyester-based film. According to Kodak information, it 'can transmit or pipe light that strikes the edge of the film and result in fog'. I guess this probably looks like edge fog but must be very image-dependent.

No, never been to NAB. Living in the UK means it's a fairly expensive trip, unless a company is prepared to foot the bill! IBC in Amsterdam (September) is much easier and cheaper to get to.

Workarounds implies you have some problem with your current method of working. I suspect you mean workflows. I think it would be useful if you were to be more specific about what sort of software for editing/sound mixing/grading you're most likely to be working with. For example, round-tripping between Avid MC and Baselight will be different than (say) FCP and Resolve. As a starter, you might want to take a look at Kevin McAuliffe's tutorials on 'Conforming in Davinci Resolve' in the Courses section

Not really sure what point you're making here. As far as I can see from the demo, you need to select the desired trim mode from the left of the keyboard, which then puts the knob into trim mode and it will adjust the clip in whatever type of trim you select. You will then need to escape from this mode to go back to the normal wheel functions. When I edit in Avid Media Composer, my left hand selects the shortcut for the trim mode, and then I trim with either the mouse pointer, the JKL keys, or by hitting the frame forward/backward buttons. When I'm finished I hit escape to return to normal editing functions. In both cases, it's one button to enter the relevant trim mode and one button to escape. It's just the way you actually move the trim roller(s) that's different. I agree that the knob is probably nicer to use than a mouse or the JKL keys, but I doubt it's any faster. If I really need the facility of using a jog wheel to control my trims, I could go and buy one of Avid's Artist transport controllers cheaper than the price of the Resolve Keyboard. I just don't see what's so special about this keyboard that warrants it's price. It may be a new feature as far as editing in Resolve is concerned, but Avid has had this functionality in it's panels for years.