I was referring to the Video Offloader product Scott had mentioned – Red Cine-X has been in my tool box for some time

Thanks!

In v6, you can do this same fast import trick with ProRes footage which is excellent.. The same holds true – 709 is the correct color space.

Good Luck!

If using the prores footage, should I set the color space to YCbCr 709 or RGB?

Thanks!

Sadly, it’s is very expensive ($20,000+ for a turnkey system at last check) and is tricky with all metadata being passed. It does work well in enterprise installations, however.

Thanks!

I use “Media Info” quite often, and Google will show variants for Mac and PC. The program which created the file – that’s up to the software to leave a marker embedded in the file, which I rarely see.

I’d argue that surround mixing and the RTAS plugins do more in the way of cannibalizing the ProTools market than sample-accurate editing would. I’d just like to be able to fine-tune sync better (always enabling the “Film” option by default to have perf-slipping available is just ridiculous) and have the option to seamlessly blend audio recordings for the same shot from that were recorded on different recording devices with different microphones and stuff like that.

I completely agree about 3D, those features definitely seem like a marketing thing to me. As long as the Media Composer-based systems are not better suited as finishing tools, editing everything in 3D is just a luxury and a potential waste of space and disk bandwidth. At the end of the process everything is conformed in another application anyway. And from what I have heard a good 2D cut usually only needs a few minor adjustments for 3D (never had to do it myself, though). So even if 3D stays, I don’t think the toolset was really needed that desperately, at least in this release and at this point in time.

A big feature for me would have been a scripting interface, which none of the NLEs currently on the market seems to offer. Being able to have a bunch of Python scripts manipulate the media database, fix metadata problems, build timelines in an automated way (for creating dailies and exporting them to different delivery formats, simple repetitive greenscreen composites and slap comps for VFX shots, creating lower thirds based on metadata/markers/databases etc.), adding bindings for external databases of information (like notes entered into a FileMaker database on location), asset tracking and versioning systems (be it inhouse solutions or off-the-shelf), customized reports and statistics, exchanging color information via CDLs etc. and automating repetitive tasks in general and getting data in and out of the application would most likely have been quite useful to a lot of people. But maybe next time.

Anyway, I completely agree, Version 6 looks like a great release and I am very happy that Avid is getting so much attention back with the whole Final Cut X debacle. Having a nice, fast and responsive GPU accelerated application that renders things instantly (Premiere Pro, Final Cut X) is one thing, but that is all completely worthless if the software doesn’t let you work fast in terms of ergonomics. Version 6 of Media Composer shows that Avid, unlike other manufacturers, is definitely committed to both these things.

I think a big takeaway is that Avid has just crossed the 64bit threshold. This will NOW enable Avid to possibly develop for 2K, 4K, 5K +, (e.g. resolution agnostic) background rendering, etc. Crawl before you walk, eh?

Avid has the 800lb Gorilla: Pro Tools. What is the hurry to cannibalize their audio product by giving sample accurate editing in MC? Companies routinely cannibalize from their other products – but they tend to do it slowly to get as much life (and money) out of them as possible.

What Avid has done from 5.5 to 6 is massive. All your points are on my wish list, but I’m satisfied with the featureset in this release. My only concern is that the amount of work poured into 3D may be for naught if an easier distribution and viewing method isn’t done soon…3D will be another fad…again!

Seems like some of my biggest wishes seem to not have come true: background importing/exporting, sample-accurate audio editing, playback not being stopped by every single UI action (eg. bringing the markers window to the foreground), a real color grading solution and workflow rather than the limited built-in color corrector (something like Apple Color used to be, but with a more efficient interface like Lustre or Baselight), or a move away from the rigid format requirements (like support for totally arbitrary sizes and frame rates up to 4K for both the editing software als well as the DNxHD codecs). But it still looks like a great update that is certainly moving in the right direction.

more, more more please.

3rd party I/O is supported – not UI. You can launch the UI of the I/O control panel from Media Composer…but that’s about it – no other UI that I am aware of.

Hopefully something wasn’t lost via the phone connection!

~MIchael

~Michael