About: dylan
Dylan Reeve is a broadcast television editor and post-production supervisor from Auckland, New Zealand.
The uproar about FCP X is mainly caused by the disconnect between Apple’s view of FCP and that of many of its professional users… I’ve created a very simple (and imprecise) graph to try and represent that. The numbers are made up but are intended to illustrate the broad...
I noticed a thread on the Avid-L2 about file-based delivery, specifically in this case it was NBC wanting XDCAM file delivery (MXF 50Mb/s HD files) – Bourke from Videotoolshed offered some great information about using Avid’s Export to Device function to get an XDCAM-format MXF file suitable for delivery.
Since the pricing on Sony’s new PMW-F3 came out – €20,700, or around US$28,000, with three lenses – the cry heard around the internet has been “but that’s almost as much as a RED One!” But is it? When RED came to the market a few years ago their...
Recently a blog post from Neil Sadwelkar titled “What’s the big deal about FCP” made the rounds of the post people on Twitter. It’s an evaluation of Final Cut Pro, mainly comparing it to Avid Media Composer. This is obviously nothing new, there are probably hundreds of such blog...
Ten years ago there were few options for professional non-linear editing. Avid had the lion’s share with their Media Composer and Film Composer products, and for the slightly lower budget there was Avid MCXpress (distinct from Xpress DV), then the rest of the market was split across products from...
For at least the last six years, and really even before that, Apple’s Final Cut Pro and Avid’s Media Composer have been the leading products for professional editing, with FCP having carved it’s way into Avid’s market share quite substantially in some sectors. The typical head-to-head comparison of non-linear...
Avid’s newest version of their flagship NLE, Media Composer, hits the shelfs in June 10 and I’ve had the opportunity to give it a test drive over the last week or so. In some ways Media Composer 5 marks a very substantial change for Avid in how it deals...
Yesterday I posted a very brief summary of the workflow for Canon DSLR clips in Avid Media Composer 5.0, today I am following it up with the same demonstation for R3D media from the RED One camera.
A few weeks ago I wrote a post called Avid Media Composer in a DSLR World which detailed the various workflow options for working with DSLR media (mainly from Canon’s insanely popular 5D and it’s siblings). In that post I mentioned that the upcoming Media Composer 5 would change...
An alert user on the Avid forum noticed this small quote in a Studio Daily post about senior Avid managers meeting with users: Our goal is clearly to be more open. [...] We’re providing the SDK (software development kit) to 3rd party vendors so they can create drivers for Avid. Whether it’s AJA...
