for maybe 2 or 3 people...info of interest

[jjj]

I urgently need english classes in serious. In grammar, orthography and
Speaking.
The other day I was filmed while driving and talking in english
About a topic and being concentrated on the sunday's drivers
On the highway
As well as on the conversation in question and not only a strong french accent
But plagued with grammatical mistakes and  lack of
Construction.
At least scotish people understand me.

I wish my French or German for that matter was as good as your English.

Ps: windows now aren't the garbage they used to be. True that
They aren't as cool and well designed but the power is there and
Windows 8 is much much better than 7, way faster. I love it.
If you don't cut in FCP, go for Windows.

I recall playing with Vegas whilst on the PC, so very easy to use. The software got out of the way and you just edited. No manual needed to get going even as a complete novice.
The things that made Premiere Pro finally usable in my eyes was all the stuff they took that Vegas had a decade earlier. Still needed to consult manuals and tutorials to do simple things though.
Vegas was originally designed By Sonic Foundry who made interesting audio software like Acid and Vegas was more like such audio software rather than the other NLEs that were around.
Shame Sony sat on it and didn't really push it forward, heck Sony laptops would come with Premiere installed.

[fredjeang2]

On XML, i was able to export a Cinex
"edit" in Lightworks but never was able
To redo the process from LW to Cinex importing
XML. And I gave-up to try to understand.

Of course, it's because I'm messing somewhere.
Or not because Cinex is not really built to roundtripp
Backwards, so it's limited.

In LW The roundtripp to Resolve is super easy with AAF.

But curiously I'm being lazy. Well, since I can use 3d luts
In the editor and in the end the color tools are strong enough
To prepare the footage for Luts, I avoid roundtripping to Resolve
Except if tracking masks are necesary.
In the end what I do is that I build Looks in Scratch play that
I save as .cube and aplly the look in LW.  Then use the color
Tools to finetune.
As Lightworks output all reso, I rarely go out the editor
Cause I can conform directly in 2k or more,  DCPs compliants in one click.
There is even a 4k for the web.
So step by step, I find myself using less and less Resolve
And all is done in Lightworks.

In the end I run Cinex and Arriraw, ingest all the prores
In LW or native Raw if not big edit and between what Cinex can do,
And Scratch, then it's a Lut affair (and each lit can be assigned
A % on track so it's dead flexible.
And as Lightworks features the blending modes also like
In P.S, the possibilities are just almost infinite. (for film grain etc...)

As the prores 444 is surprisingly very smooth, that's really
Not necesarly to go Resolve.
No nodes, just layers that are the tracks but it's photoshop
Way of thinking. The only thing is that LW only outputs
10bit DPX for big reso and those are huge files.

[D Fuller]

I hated roundtripping because I considered it was an old school
Useless way of doing. But I realised that softwares that are
Ultra specialized in one task are in the end a time saver.

Is it old-school to collaborate? The reason I love reundtripping is that it allows me to work with people who are better than me at various parts of the process.I don't like to edit my own stuff, because I am better when I have just a bit of distance fromthe process. And the editors I work with have good ideas. But I like coloring my work, and I'm fairly good at it, so I roundtrip back to my place for that. Or sometimes, when there's money, go to a colorist who's much better than I am.

I don't get out enough anyway, If I did all the edit and color and sound and... whatever for my productions, I'd never come out of the studio.

DAF

[fredjeang2]

Is it old-school to collaborate? The reason I love reundtripping is that it allows me to work with people who are better than me at various parts of the process.I don't like to edit my own stuff, because I am better when I have just a bit of distance fromthe process. And the editors I work with have good ideas. But I like coloring my work, and I'm fairly good at it, so I roundtrip back to my place for that. Or sometimes, when there's money, go to a colorist who's much better than I am.

I don't get out enough anyway, If I did all the edit and color and sound and... whatever for my productions, I'd never come out of the studio.

DAF

You touch the point. It's not that much that I think collaborate is crap.
But this industry is changing at the speed of light.

In the US, you have a bigger volume of production and
Maybe the impact is different. Here in Europe, what happens
Is that the industry has been pushed to the extremes: or
It is high-end elite, or it is low-end. Middle houses have
Almost completly disapeared.

So logically the workflows reflect that in the sense that
Editors who were not in the right place are obliged to color
And often to compo. This is very much a slavery market.
Clients don't have the budgets they spent years ago in
Advertising. Everybody becones a swiss army knife.
So collaboration is often reduced to the minimum if not
None in most of the low-end prods. But they are a big part
Of the market.
Cine is almost dead here and needs injection of production
From broadcast. And when teevees that belongs to big
Media groups, that are controled by politicians (so brain washing
For the masses guarantee), put money on feature film,
It's the end of quality: isabel the catholic prude saga or
a girl in stockings explaining to the puritains
How to use a pinky plastic dildo... wicked!

A ridiculous and vulgar example is the Berlusconi's empire,
You don't have idea of the level of crapperies produced
In order to maintain the less educated people in complete
Soporific state of mind. So the whole buzz can happily keep going: get married,
Get a mortgage that belongs to banks, reproduce yourself so that
The system needs working slaves and watch a lot of socker games
And bad porno in order to not think too much about all that...The most Redneck areas of the US
You can think of are Harvard campus compared to the content that's
Produced by those medias.
Bread and circus....

It's to the point that the most inteligent stuff watcheable now
Are Discovery channel prods. Wheeler dealers, Gaz Monky
Or those dudes looking for gold in Akaska...
Much better scripts, better color, better entertainment.

So here we go. When you had before 10 people on set with
Mil mil helicopters at 3000 bucks the hour, now you got 3 with drones
And costs 300 per hour. Or 30....

Collaborate. But with who? Some years ago I was assisting
A big fish here and between the dudes who could you seriously
Talk to? Most where barely able to connect 3 words together in a correct lenguage
And as soon as they was a pause they all where inmersed
In their stupid i.phones. the only conversation topic
Was the i.phone apps or the make-up endorsements.
Loreal, whatsapp and Apple have contribuited to that.

[fredjeang2]

I just discovered something quite impressive in Lightworks.

I had an old edit in wich I had made a render that flattened
The layers (tracks) and all fx.
I normaly do copies of edits to keep always the raw ones
But in this case I didn't.

Big was my surprise when I opened the old project and
By just doing undos several time, all the steps were still available
As if I was working in the present moment so I could revert
To the unrendered stage and got all my tracks and fx back
In the timeline, and this, mounths later.

This is a very powerrfull feature I ignored.
This NLE ain't a toy.

[jjj]

That's very neat.
And incredibly useful/powerful

[fredjeang2]

Verified by me: complete integration with
Blackmagic fusion (in the style of AE works with PP)

Reads the RMD looks from RCX

It also has a AE plug-in but never tested it.

It is bundeled with Boris look or so for free on certain
Rental conditions.

There is a list somewhere, but at the moment I'm at the....
....dentist waiting room...upppsss
Tonight I look at it

[fredjeang2]

Now that's a great feature.

Any list of lightworks plug ins?

IMO

BC

Out of the dentist!
It supports Aja, Matrox and blackmagic devices
Has integration with AE and Fusion
And some Boris stuff but I don't use them and ignore those.
Roundtripp to Resolve is done via AAF
And I also know that it is really strong with audio devices
And control surfaces used in Hollywood.

If you didn't, read the article from the Hollywood editor I linked
In a previous entry above because you'll have an idea of
What it does from a truth high-end editor.
https://library.creativecow.net/battistella_david/lightworks/2

What I want to stress is that it features an implementation
That you can't find elsewhere and that reveals really
Incredible in use. I'll mention a few:

- you can have multiples edits open at once in the same
Windowspace. With their corresponding timelines, side by side. Not like switching
From one to another within a fixed position.

- you have rooms. The rooms are really unique. Each room
Is an entire workspace arrangement in itself. For ex, you edit something,
Then you do another version, arranging the windows differently, applying alternative WB or whatever,
Etc...so when you switch from a room to another, you got
All the content and arrangements you left the room.
I use them like this: in one room I got all my medias, in another I could
Arrange-edit-color just certain type of files.
In anothet room I got "edit1", in another room I got "edit1-2"...
So...you can switch to one or another on a clic, compare versions,
Or assign a specific task.
But each room has arrangement-task-content independence.
And at the same time, all the material of all rooms is accesible whatever
Room you are in. For ex, if you're in room1, and you want to
Grab an edit that is in room 3, you don't need to switch to room 3 for
That as there is one mega bin for all.
The megabin is dividible in sub-bins etc...
This is absolutly crazy in terms of creativity flexibility.
It's an enormous timesaver and enhance creativity.
And no other NLE does that.

-Then, the sync is just amazing (read the editor article)
So you never have to worry about that

-the waveform is really great. It renders them on import just
Once. Period. Then, no re-render on zooming, no refresh.
Yesterday I had a 45mn audio track and it took about a minute
To render all the waveform (in background), but then,
No more refresh nor hesitation like in other NLEs.

-also, no menu and almost no buttons. What costs 3 steps
In Avid costs 1 in LW. No useless complications.
What has to work just does in a clic.
(again see the sync stuff and it tells you all).
I've tried them all except FCP and LW is the fastest and
Made FOR editors. As long as it exists, I won't cut elsewhere.

But Fred ain't Coot in the sense that I'm in the low-end territory
And that's why I linked this hollywood editor article, so
You'll have an idea from a real pro point of view.


A note with Red: I said above that it reads the RMD files.
But it's very different than PP and Avid.
You can not load directly in LW any RMD. What happens
Is that it links the R3D to a corresponding RMD that has
Been generatedin RCX. So in LW, RCX is usefull actually
In the sense that LW updates any intervention you did
In RCX, as long as you saved your RMD.
So you could color in RCX and the timeline will be updated
With the look you created in Cinex.

But as you wouldn't cut native everything, the workflow
Then is the same as the one you'd have with FCP7.
Just cut prores and then roudtripp Resolve.
However, when you need fast turnarround, just bring
Your native Red into it, remembering that what you do
In Cinex will be taken into account.

If you want to conform in the editor, you can and output in DPX
Any Red format of your choice or standarts DCPs. There are presets for that.
So if you need 4k, you'll have 4k with one of the standarts
Aspect ratio of Red. But it's DPX. Or I.S. (tiff etc...).

Otherwise, conform Resolve wich is more logical but not obliged.

The only real problem I see with it is this:
The real knowledgeable dudes who use it do not
Post in internet because they are Hollywood editors
Ultra busy. And so the dudes who frequent the lw forums
Are mostly amateurs that generaly take advantage
Of the rental plan. LW is not present in the middle range
Market so finding real tutos at pro level is not easy.
Most of the tutos in youtube or vimeo are amateur
Level. So it can be intimidating because you're a bit
On your own to be honest. And the editshare pro support
Is really expensive.

Think of it like a super sport car handmade by a small company.

[fredjeang2]

Discovered another thing...
Wao!

Not only it keeps a register of the steps so you
Can revert, by default 10 steps kept in register but
If you want more 30, 40, you need to configurate it on script
File, a bit like Nuke with python. It is easy.

But has 2 levels of security.
If the undo method failed, then there is a "revert" option
In a render that restituate the clip at it's original
Stage but with keeping (restituing) at the same time
All fx (or any alteration to the original, color, reframe...) applied, but unflattened.

What is the advantage of this?
Huge.
The undo means that if you want to reach an edit you did
Let's say 20 steps before, you'll need to undo 20 times.
And if you haven't touched the project for days or weeks,
It can take long to reach the stage in question.

But with this second security, you just points directly to the
Section you want, right click and "revert", and bang...
Back with your previous steps but just where you needed to.

[fredjeang2]

All that woke-up my curiosity
And there are 3 more ways to "undo"!
But that becomes like writting a book.

Actualy, when I got time I think it's worth that I
Do a video on all the tricks and capabilities
Of it in real situation, showing things that have
Not been published so far.
It would be quite a long video because there is a lot
To say...but I seriously
Consider it because the more people know-use
It, the better.

If I do it I'll post the vimeo link here.

Ps: Coot, I've been looking at third-party plug-ins and
It is a complete mess that has to be grouped because
For one side there is the "official"  list and then in the forum
A myriad of others bring by the users who tested this or that, that are working too.
Honestly, I'm too lazy-busy to enquire in serious because
It seems to be quite a lot, some are updated, others aren't...a bit the wild west.

But:

-you don't need a sync app in it. (2 sync ways with or without timecode)
-you don't need a color app like Baselight plug-in because
It takes 3D luts at display and clip level and its color
Tools are powerfull enough to do all task and we would
Color in Resolve anyway.
-you don't need subtitle script, I have one I never use
Because the lowerthird are quicker to use than a third-party app.
And as all is configurable and saveable as template in a
Location-name at your aim, then, you end to build your own custom
Things.
Customization is not limited by the number of fx (or nodes)
So you can really shape things the way you want and
Become reusable template.

Also, the fx code is open. Users who understand programming can create their own effects.
There is a vault that group all users fx. Some are good, others
Not so good. As expected. Of course, the Hollywood gurus do not
Share theirs.

Really, all what's needed is a compo app and Fusion or AE
Are fully compatible.

I haven't performed tests so far with Sratch. Need to do it.
If there is a way to Assimilate Scratch integration like
Fusion is, then the use od Resolve would become completly
Meaningless. But it ain't easy and so far haven't dig into that.
They used Scratch in Aviator to create the 2 strips technicolor
Look. And scratch is particularly aimed at beauty advert.
It would be fantastic to be able to roundtripp to Scratch
In an integrated way.

Been doing lots of stab and object removals in Fusion and it takes
A few minutes.
Also did tested with ACES workflow from Red open EXR export
And it works as it should. The only weak part of the chain is me
Regarding ACES.

Blackmagic fusion is great: you install Blackmagic Fusion and
Lightworks automatically recognize it and available in the fx
Panel. No need to do anything. Got a clip that needs a stab?
Just press Fusion, and you're in fusion, do your comp. Save it
And automaticaly back in LW that asks you if you want to
Replace the clip by the fusion comp. Done! 2 clicks.

[fredjeang2]

The thing that bugs me about most NLE's vs. my fcp7 is everytime you start a new sequence or project you have to go to a different room or whatever they call it.

I can keep one project with two dozen sequences (or think of them as alternate projects, without ever closing a window or re linking.  Just copy and past, then start cutting.

Also I don't use a lot of plug ins most noise killing, film looks I keep in resolve, but sometimes you need them just to quickly match up on the timeline, especially if your in a hurry and the tweek is just to match up scenes or clips.

I could care less about a lot of these flaky striped, 1990s psychodelic looks, because in fcp I can make those transitions myself.

I loathe magic bulllet as it eats power like crazy and canned looks aren't my deal, so if it's not compatiable I don't care.

Same with most others.

The two plug in's I have to use are beauty box, which is great for lightly cleaning up faces and film emulation because I can even out the looks but once again, I do most of this in resolve.

Thanks

BC

I hear you.

Actually your working method can be done in LW.
Rooms are not an obligation.

You can have one active timeline, wich is an editn-sequence and have
Open as much other edits or in your workspace area if you wich
Without having to change or leave the workspace,
Or accesible in the bin itself (and timelines are showable in bins as
Well as mark-park and keys)
And you just  inserts edits where you want-need just like you would
Insert footage.
In LW everything is a clip. There is no nested sequence
Notion needed. The concept itself of sequence vanishes.

Copy edits or sequences is one clic, (or the entire edit or the marked part or the cut itself)
And it's automaticaly saved as a new edit independant.
Or use it as a clip, or as an edit with all the timeline and tracks
Available of course.

So you can have as many sequences as you want and
Copy-paste them in your active one. Actually not even need
To 'copy', (the copy-paste notion in LW is in fact one click) just clic one button and it brings the sequence
Into your timeline active sequence one where your cursor is or if you marked
At the marked point, and of course the insert can be an overwritte,
It works for sequences also,
Respecting the track order you had.

Importing projects within project is also possible.

In the end, projects, sequences, copies of sequences, of clips,
Versionings of sequences, alterated edits, copies of the copies,
All work the same: just a clip.

It gives the possibilities to work with rooms but
Again, rooms are not obliged at all.

So your fcp workflow is absolutly possible.

Goshhhh...I sound like an editshare vendor.
Time to shut my month. Lol.

Ps: not shutting my month yet. Film emulation in LW
Are acheived actually by 3d luts.

I have some Redlogfilm-to redgamma whatever flavour Luts
That are absolutly reliable because I tested them on fusion
And scratch and are 100% exact with Red color science official.
So it's about grabing the reliable pro luts and there are
In Kodak, Fuji etc...much better than the preheated
Looks of the third-party plugins because those aren't lightworks'
But matrixes from the industry itself, like the ones from the Arri lut generator.
And, when using Lut, you have control on the % applied on each
Track or layer wich avoids some exagerations of certain luts.
It acts exactly like a % transparency in Photoshop.
Same blending modes as PS are also available.

So if got an Redlogfilm and want to go rec709 without
Having to use RCX or Fusion, all I have to do is to apply
RLF to rec 709 lut in lw and that's it. Same with film look.
As long as you can grab the good onces with the correct Matrixes,
Witch can be tedius because the world of luts is plagued
With unreliable stuff indeed...the very wild west.
Ask the people of Raw DNG: where are the official Blackmagic onces
For film mode?
Nowhere!


About beauty box, no this plugin is not available in LW
But is in Resolve I beleive.

[fredjeang2]

http://www.lwks.com/index.php?option=com_content&view=article&id=15&Itemid=176

 

[fredjeang2]

More discoveries:

-it takes all footage from i.phone6 very nicely.
Never used i.phone footage on it before. No prob.

-in still images (and this is a huge difference with Avid
That can do it but with menu within menu...)
Just insert your stills into the edit and there is nothing to
Do because it respects the native resolution of the
Still image independently of your video reso. So it's
Just a question of framing, zooming and positioning
As you wish. No hassles, no useless complications, just
As we expect it should be: straighforward.

Nota: this behaviour with stills is also true with footage.
If you have a 1080p environement and you ingest 4k Red,
You have nothing to do because your 4k will have 4k reso
Independently of your output and working area. So
You just reframe, zoom-in or out, repositionned and
The native reso is respected. The only point to remember
If you conform in it is to make sure your debayer is at the max.
That's it.

[D Fuller]

Seems similar, in this respect, to Resolve and Premiere? Or is there more here?

More discoveries:

-it takes all footage from i.phone6 very nicely.
Never used i.phone footage on it before. No prob.

-in still images (and this is a huge difference with Avid
That can do it but with menu within menu...)
Just insert your stills into the edit and there is nothing to
Do because it respects the native resolution of the
Still image independently of your video reso. So it's
Just a question of framing, zooming and positioning
As you wish. No hassles, no useless complications, just
As we expect it should be: straighforward.

Nota: this behaviour with stills is also true with footage.
If you have a 1080p environement and you ingest 4k Red,
You have nothing to do because your 4k will have 4k reso
Independently of your output and working area. So
You just reframe, zoom-in or out, repositionned and
The native reso is respected. The only point to remember
If you conform in it is to make sure your debayer is at the max.
That's it.

[fredjeang2]

Seems similar, in this respect, to Resolve and Premiere? Or is there more here?

No idea. As I don't use PP and Resolve just for grading (and use Resolve less and less because of Scratch, I got it very abandoned). But yes, this behaviour seems to me what we'd expect so it wouldn't be a surprise to find the same simplicity in PP and Resolve.

You can choose (according to the way you do) or that the image behave as an image, what I described, or that it becomes a clip, therefore linked to your Project environement in terms of reso. Here again, nothing special. Just that it does it without having to think, enter into a menu and so on but only a procedure or another.

[D Fuller]

It does seem that Lightworks does a lot of things in a way that "just makes sense." If gets more interesting to me every time you write about it.

No idea. As I don't use PP and Resolve just for grading (and use Resolve less and less because of Scratch, I got it very abandoned). But yes, this behaviour seems to me what we'd expect so it wouldn't be a surprise to find the same simplicity in PP and Resolve.

You can choose (according to the way you do) or that the image behave as an image, what I described, or that it becomes a clip, therefore linked to your Project environement in terms of reso. Here again, nothing special. Just that it does it without having to think, enter into a menu and so on but only a procedure or another.

[fredjeang2]

It does seem that Lightworks does a lot of things in a way that "just makes sense." If gets more interesting to me every time you write about it.

Their facebook is not bad and it seems editshare is doing
A real effort in making video tutorials with real editing situations.
Their ones on multicam and console are going in the
Right direction to show the potential of it.

But I'd like here to points maybe the things I don't like or think
It still misses, cause I'm not an editshare vendor...lol!
There are features I'd like to see:
- no native arriraw in editor
- no hability so far (it has been asked by many and hopefully
Will be answered) to use PSD files with or without layers
- no hability to export in open EXR (also asked many times for
Quite some time)
- the node panel is not very well designed, connections are
Not straights but curvely (don't know why really) and a bit unnatural to deal with.
- the console is too expensive indeed, due to the fact that it's
Handmade and small production.
- the frustration of the fact that the color tools are really
Good enough and the lack of polygon masks rests it full control
Wich would have been indeed perfect. So a roundtrip
To resolve or Fusion still is absolutly necesesary for serious
Grading. No polygon masks=big missing feature. But it is
Before all a NLE and not a swiss army knife so no real complain
On this aspect. But...in an ideal world...

To me personaly, Arriraw ok cause I got the Arri converter.
The clumpsy node window not really a problem because we hardly use it.
Color as we say is probably better a NLE centers to be a pure
Great NLE and leave the color tasks to a specialized app.
But open EXR and PSD (with layers) IMO would't be a luxury.

Its strengh is indeed the editing, the story. This is where
It shines and where everything makes sense and
All is implemented for speed and efficiency. Ain't an all-in-one.
And does not seem Editshare wants to push it that way
But keep the philosophy of the pure NLE.
Is it a good or a bad thing? In our time where it seems that
Things are evolving to Resolve12 kind of philosophy, it may appear
As a bad thing. BUT...
I am absolutly convinced that in the hands of someone who
Takes the time to learn it, it has no rival in terms of speed,
Including the necessary roundtrippings to color or comp and
Without the special need of the console, although the console
Would be ideal. But I think that the 3000 bucks of the console
Only makes sense for those die hard editors in L.A who
Only do that, are well paied and have AEs.
A hundred bucks dedicated keyboard does the job perfectly.


Ps: oh yeah! Another thing that looks stupid but ain't stupid:
You can build your own interface, having your own company
Logo, buttons etc...cause all the visual interface are just images png
And so by just replacing those images you shape it the way
You want. Clean code. It's also question that the code
Will be released to the public in a not so far future.
For example I don't use the native buttons but personal buttons
I find more comfortable. Same with the code (but it's an area
I don't touch nor master), like python is for Nuke.
The customization can be total.

[fredjeang2]

I forgot to precise something about sequences-edits.
Maybe you remember that I pointed the fact that in LW eveything is a clip and therefore the concepts of nested sequences vanish.
But you are not stucked to any sort of track order nor naming.
To illustrate this point I take an example.

Let's say you have "edit1" composed by V1-V2-A1-A2-A3-A4. you're working on it so you're recording in LW terminology.
You stop to work on it and create a new edit called edit2. Edit1 then becomes a clip and now you're recording edit2.
Then

you want to insert (or overwrite) edit1 into edit2. LW doesn't care of the tracks order.
What was V1-V2-A1-A2-A3-A4 in edit 1 could be inserted in edit 2 in V10-V40-A5-A6-A12-A8, keeping of course all
edit decisions, fx, marks etc...done in edit1.
You choose wich tracks have to be enabled or not.
So you are not obliged to follow a logic or another. All you have to do is:
1)choose the tracks enabled for insert-overwrite
2)in-out your edit 1, press a key: done! it's now in edit2 at the place you want and with the tracks you want. Nothing more to do.
LW reorganise and redistribute everything automatically, keeping all edit decisions.

In that sense, what Coot doesn't like very much, the rooms, makes all sense.
instead of having to look constantly into the bin to grab this or that edit, or having your workingspace full of multiple edit.sequences
that can quickly become a mess, here is how the rooms speed-up drasticaly the workflow as well as they help to be organised in your mind:

Room 1: got edit1,2,3 at the same time. (working on those)
Room2: got main-edit1 (in waiting mode)

I'm working in edit1 a bit, then edit2...
then when I want to insert those edits into main-edit, I don't have to refer to the bin to find main-edit, nor open it, place it etc...
it's already open in room2, and already displayed as I want.
So all I have to do is enter room2. point. And insert-overwrite any parts of edit1,2,3

So rooms are areas, spaces where certain clips,sequences, edits are opened in an organisation you choose. There are all active and switchable at the same time.
You could have a room called: night-shots
another called: multicam
another called: main-edit
and in each room you just have displayed and activated what you need where you need without any sort of mess.
Work in your multicam edit in the room called multicam with the multicam bin etc...
but some other tasks would nor require the multicam bin so you'd need to close the multicam, open another bin and so on...
With the rooms, no need to close, open, reorganise anything...it's all there! need to insert this multicam edit in main edit?
just enters main-edit room (one click) where now you're into your main edit organized differently from multicam because the tasks are different and insert what you did previously in your multicam edit.

No other NLE in the market today is bringing such capability. So rooms are not complicating anything, on the contrary, they speed-up drasticaly as well as help to be super organised.
Indeed, editing stresses enough the brain that we don't need to have to refer constantly to the bins or this or that footage or these or those edits. So the rooms are designed precisely to Access inmediatly
everything you need for a specific task, in an area organised to perform those tasks and-or Access the material involved and needed. 

They are also designed to acess inmediatly (if you are with the director or client) any sort of versionning.
Let's say you have edit-version1 and want to discuss with the client an alternative edit called version2.
All you have to do is to switch between room version1 or 2, where your edits are active and displayed as you wanted.
No need to go to a bin, double click on version2, waiting it displays etc...
In LW it's all there, no wait, no search, no mess.
Yes, maybe this feature will certainly be more relevant for big volume, complex editing that will chalenge the mind. True. But even for short form it reveals
really usefull.

Now, if you want to ignore the rooms and work like in a traditional NLE, you can. But when you try the rooms, you won't look back beleive me.





see that there is very Little mess on her workingspace (not talking about her desk wich is clean (not like Coot's one just to tease a bit) but the NLE working area)

[fredjeang2]

Gosh...this stuff is even faster than I thought.

Multiple timelines within the same workspace! Holy crap!
And not talking of just clips timelines but edits-sequences
With all their tracks.

Displayed where you want: side by side, up-down etc...

You can have displayed lets say 10 sequences (or more) as if they
Were multicam display, use each timeline when needed
And insert into a main edit, also in the same workspace.
The only spacial limitation being your monitor size.