And so far most of Arri is 2k output, so . . .
I like shooting 4k (or with the Reds I should say almost 4k) when it's the right situation and the ability to come into a file and little for a slow zoom, or side movement can really refine an edit and story.
My problem is I'm working in a 2k NLE and I'm going to have to switch. I'm not going Avid, too much keyboard, though I own both FCPX and Premier, I can't decide and my schedule doesn't allow me any downtime right now, but if I don't make the switch I'm going to get caught out.
Still, I really wonder how much 4k delivery we're going to see, at least in high bitrate, because I have clients that choke down on 720. We'll see, but regardless of what we want it's going to come.
Avid is still HD so a conform is needed to Resolve
To output 4k. (see PS2
Give a try to Edius. I'm super serious. Those Grass Valley guys know
A thing or 2 when it comes to hasdle-free, straightforwardness.
Many major broadcast are using it currently.
It takes everything, built like Nuke in the sense that it
Uses no mem and can build proxies while working with
The raws so you can use it on virtualy any laptop.
It's a great NLE, vastly underestimated in the US but
Not in Europe and Japan.
The only thing that is missing is that it lacks an automatized
Tracker in the compo tools. It's manual, but the color tools
As I do not work for me, the choice of Avid is strategical,
But if I had to work mainly for me, I'd through away all those
Avid And PP on the garbage and stay with Edius.
It's a 4k and more NLE (like in Nuke, you just could work
8k if you wish).
Give it a try, you won't be disapointed and it's dead intuitive.
On the 4k. What about broadbloodycast? Teevees have adopted
Hd not a long time ago but look at the quality we receive
The signals...it's extremely low.
In the end, if the major broadcast would be able to send
A higher quality hd signal on a 4k tv, it would probably
Look better than a low 4k; because they
Are not yet able to transport a high bitrate
Signal and although it's HD, it reaches our homes
Very degradated. So again we're in the same
Saga: a standart that seems obsolete before
It reached maturity...
On the advert side, where the real money is? On the
Web. Theaters are still 2k in the vast majority and also
They cutted drasticaly the costs of DCPs. In fact they now
Gift it. A 3 min campaign is about 500/600 euros per week
Per theater included the DCP. So all we have to deliver
Is an image sequence in the specs they want + surround audio.
Period. (well and a copy in QT lowres and the musical rights payed)
If they go 4k, I'm not sure this situation would stay as
: Coot, about Avid and the keyboard dependence: I
Don 't know if you tried by yourself or if you took advice
From old editors foxes but this fact was true until the latest
Versions of MC. Now it's not anymore keyboard orientated.
You can use it the old way or the new way like FCP, PP or Edius.
I never use the keyboard on Avid because I learned it
Late. But most older editor would have the experience
Of keyboard orientated. Keyboard is not an issue any more
In Avid. The real issue is that it's complex and there is
A lot to remember.
Then, according to trustable Avid source, it's going to go
4k soon. But what "soon" means?...
In fact, the level of personalization of Avid is amazing
And you can virtualy shape the NLE and it's behaviour
According to your style and needs, switch to one config
To another, and that's also truth for the bins. I would
Say that what really makes Avid different from others
NLE is it's power when it comes to asset management
And interface flexibility. In those fields, no other NLE
Comes even close. The price to pay: not intuitive and
Requires more hours to master it.PS2
: About cropping 4K material or pan-zoom, you can do that
now in Avid (on former versions it was not posible). But it is still
an HD editor in the sense that if you can manipulate 4K, crop, zoom,
pan...you still can not output 4k from the NLE and need another App
like Resolve to acheive it.