A Little Rant About Language

Posted May 28, 2008 by Steve
Categories: Quality of Life, Workflow

As someone who edited a magazine for four years, allow me to digress with a brief rant about language. I have two pet peeves.

First, “digital” is an adjective. As in “digital video” or “digital audio” or “digital acquisition” or even “digital divide.” It is not a noun — it modifies a noun. So, for example, it would be incorrect to say something like, “we’re going to shoot it on digital,” (how many times have you heard that?) or, “that was before I started editing on digital.” On digital WHAT? There’s a word missing — the noun.

Second, and more important for us, “editor” is a human being, not a machine. I am getting very tired of the recent trend of calling an editing system, a piece of software, an editor. We don’t call Microsoft Word a “writer,” even though it would be quicker and easier to use that word, and we don’t call Quark Xpress a “desktop publisher.” We never called our Moviolas and KEMS editors, either.

There is simply no logic for this usage — no good reason to confuse two totally different things by giving them the same name. It’s totally disrespectful and frankly, it’s just plain wrong. The machine does not edit — it allows a human being to edit. The hammer doesn’t build the house — and we don’t call it a carpenter, either.

We need to find another word for the device that allows people to edit. And for want of something better, maybe we should stick with the term that worked just fine for the first decade and a half of the digital revolution — “editing application.”

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New Avid Training Site

Posted May 20, 2008 by Steve
Categories: Avid Technical Tips

Harry Miller, who has done great work on post production technology at the American Cinema Editors, has been posting video screen-captures on a new site that promises to become a real resource on the Media Composer. Harry’s videos are concise and very useful. Check them out here: Editor Demos

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Avid Product Management is Blogging

Posted May 20, 2008 by Steve
Categories: Avid

In a bow to a new corporate-wide focus on openness and transparency, Avid’s product management group for editing applications started a blog last week. Called “Source/Record,” the blog is the work of Tim Clamen and Greg Staten, who are doing terrific work building the new Media Composer.

There are only two posts so far, but it’s already interesting. Check it out here: Source/Record.

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Autosave Blues

Posted May 10, 2008 by Steve
Categories: Avid Wish List & Bugs

First, let me apologize to those of you who’ve gotten used to regular posts here. I’ve been working hard finishing a pilot and time has been short. But I’ve been thinking a lot about the Media Composer and will have plenty to say once the dust settles a bit.

In the meantime, I want to talk about one of my least favorite Avid features — autosave. I keep all the reels (or acts) of a show in a single bin. That makes it very easy to move from scene to scene and also, incidentally, makes it trivial to measure the show. But my bins tend to get pretty big, growing to 20 megabytes or more. Twenty megabytes ain’t much these days — you can copy a twenty megabyte file in a second or two. But saving or opening a twenty megabyte bin seems to take forever.

Since saving big bins is so slow, and bin performance, especially in frame view, slows to a crawl (try selecting all sequences and watch them high…light…ever…so…slow…ly), I’ll start over with a new bin after a bin gets bigger than about 20 megs. That means I’ve got a bunch of 25 MB bins that become archives of past versions. I need to be able to open them quickly, check something, close them and move on.

No can do.

Why? Because the MC wants to save every bin that you close, for almost no reason. Nothing in the bin need change for the MC to insist on saving it. Nor can I force a bin to close without saving. And every time you open a bin every clip frame in every open bin is refreshed — which also takes forever. (See the post “Legacy Bugs” for more.)

It used to be that you’d know a bin needed saving when a little diamond appeared in the bin’s title bar. That’s still true, but bins can now perversely save even when the diamond is missing.

Yesterday I noticed a new way this can happen. Open a few bins. Don’t change anything. Then, move one clip in one bin so that the diamond appears. Now click in the timeline or project and hit command-s. All open bins will be saved, including the ones that you did absolutely nothing to and which do not show the diamond.

The result is way too many saves and way too much time spent opening and saving.

Of course, what I really want are background saves that don’t interrupt work. But baring that, it really would be great if Avid could address some of these issues. They don’t represent fundamental work, but they sure would save time in my cutting room.

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Time for the EDL Change List

Posted April 19, 2008 by Steve
Categories: Avid Wish List & Bugs, Workflow

There are some features that have been on the wish list for so long that we no longer remember that there could be a better way. The EDL change list is one such feature. When you online a show and need to make further changes, you want to use the first online as a source. The only way to do that is to digitize the online, load it into a new video track and cut it along with your normal material. That is an unnecessary burden, which slows down the editorial process and makes simple changes much too complicated.

The whole process is especially frustrating because the Media Composer could easily create the list you need, comparing your old sequence with your new one and creating a list that references the first as a source. This isn’t totally trivial, but in 2008 it’s not rocket science.

Avid mentions this in a recently posted FAQ about the new systems:

Avid FilmScribe will export XML for all sequences with all source and record side metadata. All standard Avid columns as well as user custom metadata will be output as a single XML file. Transforms can applied to the master XML to create EDLs, Change List EDLs, Scan lists, etc. Transforms can be created by users and manufacturers and easily shared as needed.

Indeed, XML export is an important new feature and it will pave the way for many new capabilities. But the problem here is in the words “created by users and manufacturers.” We shouldn’t have to wait for a third party application to implement this important feature. We’ve been asking for it since the mid-’90s. It’s time for Avid to put it into every Media Composer.

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Adrenaline RIP

Posted April 15, 2008 by Steve
Categories: Avid

Avid formally announced their new product line yesterday and the name “Adrenaline” was not part of the lineup. Mainstream “offline” editing will now be based on Media Composer software running the Mojo DX box, at a price point of $10,000 (CPU extra) with full HD support included. Editors will also be able to purchase the more powerful Nitris DX and use it with Media Composer software for $15,000 (CPU extra). Symphony/DS now costs $36,000 with the CPU included.

The new hardware intelligently uses all the CPU cores that you have, along with the processing power of your graphics card, and it connects to the CPU via PCIe, rather than Firewire. This adds up to what the company claims is the fastest and most stable Media Composer ever. MC moves to version 3.0 and will run under either OSX Leopard or Windows Vista.

The system handles many new file-based media formats natively and does not require rendering for DNXHD playout. Other announcements include a realtime burn-in effect, XML output via FilmScribe, and Metafuse, which helps turn DPX scan files into DNXHD media.

The details are in this press release.

Meanwhile, longtime Avid-l member Frank Capria announced that he will be joining Avid in May as product designer for Media Composer. Frank has been an outspoken and trenchant critic of the company and should bring plenty of new thinking to a reenergized Avid. Welcome aboard, Frank.

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