10/15/2019 Handbrake For Mac 10.10.2
Editor’s note: The MPAA and most media companies argue that you can’t legally copy or convert commercial DVDs for any reason. We (and others) think that, if you own a DVD, you should be. Currently, the law isn’t entirely clear one way or the other. So our advice is: If you don’t own it, don’t do it. If you do own it, think before you rip. Looking to liberate the movies in your DVD collection from the confines of their plastic-and-metal prison so you can enjoy them on your iPhone, iPod, iPad, and Apple TV?
10 Best To-Do List Apps to Keep You on Task The 5 Best Weather Apps with the Most Accurate Forecast for Your Location Best Cooking Games for iPhone and iPad 5 Best Free. Mac; HandBrake; HandBrake. HandBrake for Mac is a free and open source tool for converting video files from nearly any format to a selection of modern, widely supported codecs.
Well look no further—all you need to do is get some free software and follow a few steps. (Note that this guide pertains only to DVDs. To learn more about dealing with HD discs, read our story about.) Step one: Install the software To rip a DVD with HandBrake, you need to. The latest version works on 64-bit Macs running OS X 10.6 or later.
But HandBrake doesn’t include the software needed to decrypt commercial DVDs, so you also need to install, an open-source library that can circumvent the Content Scramble System (CSS) used on DVDs. (You should, of course, only rip DVDs that you’ve purchased.) The first time you launch HandBrake and attempt to scan a DVD, the software will inform you that you need additional decrypting software and will offer to send you to a page where you can download the libdvdcss installer (currently, although you can always find the latest version ). Run that installer, and it will put libdvdcss where it belongs on your drive. Now you’re ready to rip. One more thing. Alternatively—and especially if you encounter problems getting HandBrake to work with your DVDs—you can use a separate app to decrypt your DVDs, leaving you with a VideoTS folder containing unencrypted files that HandBrake can then deal with easily. Some good choices are The Little App Factory’s $25 and DVDSuki Software’s $25.
(Both can also do some video conversion.) Step two: Insert a DVD and pick what to rip Now insert your DVD into your Mac’s DVD drive and launch HandBrake. By default, the app opens a dialog box and ask you to select the DVD mounted on your Mac (you can turn off auto-prompting in the General pane of HandBrake’s preferences if you prefer). Choose your DVD and click Open, and HandBrake then scans the DVD for the titles it contains. Once the scan is complete, HandBrake chooses what it thinks is the main title, but you can click the pop-up menu next to Title and choose the item you want to encode.
Generally speaking, the title with the longest duration is the DVD’s main feature. HandBrake’s main interface. Want to make sure you’ve chosen the right title before you start encoding? Pick the one you think you want, then click the Preview Window button and a new window opens up. From there you can scroll through ten still images from the title or, if that’s not good enough, choose to encode and watch 15 to 240 seconds of the title (in 15-second increments).
Bender’s the king, baby! Yep, that’s the episode I wanted.
If you encounter problems such as, or a, you’ve run into copy-protection scheme meant to thwart ripping. In that case, launch Apple’s DVD Player application, and navigate through the warnings, ads, and previews until you’re playing the main feature. Then choose Go Title from the menu bar, and find the title with a chek mark next to it. In HandBrake choose File Open Source (Title Specific), select your DVD, and enter that title number in the box and click Open Title.
Want to rip everything on a particular disc? There’s a button for that. If you want to convert several items—all the episodes on a TV show DVD, for example—you can select one item, click the Add To Queue button, and then repeat the process for each item until you’ve added them all to the encoding queue (you’ll want to adjust your encoding settings prior to adding the items to the queue, however, which I’ll discuss in the next step). Rather than worrying about overwriting items in the queue if you forget to rename each before adding them, you can go to the General tab of HandBrake’s preferences and choose Use Auto Naming (uses DVD name and title number), which makes sure each title has a unique filename. You might even find it easier to choose File Add All Titles To Queue, which as you might expect adds everything to the queue. From there you can delete any title that you don’t want to rip by clicking the X to the right of each title’s name.
Step three: Choose a preset You can pick a preset and make it your default, or you can create your own. Now that you’ve decided which title(s) to rip, you need to choose your encoding settings based on the device(s) on which you plan to view the content. Although you can tweak every aspect of encoding, HandBrake includes handy presets that make it much easier.
Generally speaking, I advise using them. If the Presets Drawer isn’t already open, click the Toggle Presets button at the top of the HandBrake window (or press Command-T). In the drawer, you’ll see two types of presets: Devices and Regular. In most cases, you can just focus on the Devices section. There you’ll find options for Universal, iPod, iPhone & iPod touch, iPad, AppleTV, AppleTV 2, AppleTV 3, Android, and Android Tablet. If you want to watch your movie on an iPhone, for example, choose iPhone & iPod touch for the best-quality settings that will work on that device. The same goes for other devices, based on their playback restrictions.
The Universal preset is helpful if you want a file that will work on all current Apple devices. If you find a preset that you plan to use often, you can set it as your default (otherwise, HandBrake defaults to Normal as its preset). Highlight the preset you want, then at the bottom of the Preset Drawer click the gear icon and choose Make Default from the drop-down menu. You’ll know it worked if your chosen preset now appears in bold. Also note that you can for specific needs, such as after makingany of the tweaks discussed next that you want to use again.
Step four: Tweak your settings Once you pick your preset, there are a few settings you might want to tweak, depending on your specific needs. Decombing/deinterlacing: Many TV shows you’ll find on DVD are —that is, each frame displaying on screen as even lines and then odd lines (as opposed to progressive video, which refreshes all lines in order per frame) that can lead to jagged video when viewed on your computer or portable device. To overcome this, HandBrake can deinterlace while it rips so that the video will be smoother when you view it. The downside to deinterlacing, however, is that you sacrifice some picture quality. The Picture Settings display lets you turn on decombing or deinterlacing, among other things.
So instead of using the Deinterlace setting in HandBrake, try the Decomb option instead. The Decomb filter looks at each pixel of each frame of video and deinterlaces only frames that show visible signs of interlacing. That process can slow down the ripping process, but you should end up with smooth video that suffers minimal quality degradation.
Only the AppleTV 3 preset uses the Decomb filter, so if you want to use it with another preset, click the Picture Settings button and then the Filters tab in the window that appears. Click the Decomb pop-up menu and choose Fast (the same setting used in the preset above). To see if that does the trick, try encoding a short bit in the Preview Window before and after changing that setting. If the jaggedness disappears with Fast turned on, use that setting. If not, you can play around with the other choices. (Want to really get into the weeds with decombing and deinterlacing? Check out the on the topic.) Audio Altering or removing audio tracks is a great way to reduce the size of your finished file.
Click the Audio tab, and look at the audio tracks your preset has selected to include. There may be language tracks you don’t need, or if your Apple TV isn’t connected to a surround-sound audio system, you may want to remove a 5.1-channel audio track or down-mix it to stereo, for example. Don’t need a particular audio track? Get rid of it. Subtitles If your movie is in a foreign language, or you have a hearing impairment and need to read the closed captions when you watch, HandBrake’s Subtitles tab is the place to look.
There you can find whatever subtitle or captioning data comes on your DVD and decide which to include in your ripped file. Typically, subtitles must be burned into your file, meaning you can’t turn them on or off, whereas closed captioning data is added as a separate text track that you can choose while watching in QuickTime, for example.
You can also add an external.srt text file for the movie if you have it (one you downloaded, say). For the most part, you shouldn’t have to worry about much of the HandBrake’s other minutia (and there is a lot of it).
But if you’re curious about other settings, check out Christopher “Breen’s “.” When you’re all set, click the Start button and go take a nice walk; depending on the length of the files and the speed of your computer, it can take a while to transcode the video. Step five: Tag your movie with metadata While this last step is very much optional, adding cover art, cast names, summaries, and the like will make your movies or TV shows look and act a lot more like those purchased from the iTunes Store, sorted and grouped correctly in iTunes and on your devices.
A tagging utility like iFlicks can fill your rips with useful metadata. Several applications can look up metadata online and add it to your files. Rodney Kerstetter’s free is designed for that purpose (and HandBrake even has an option to send completed rips to MetaX directly). But Chris Marrin’s free and (my personal favorite) Jendrik Bertram’s $20 are video-encoding applications that you can use just to add metadata. Whichever software use, once you’re done, just add the movie to your iTunes library and it will then ready for you to transfer (or stream) to your devices.
I was home nerding out about shooting and editing with a family member at my mom's birthday party. It turned out we both use Avid MC on our shows. He works for a cable network news program and I edit a syndicated cable show. I unloaded all the troubles I've had with Avid lately and really almost since I switched to it two years ago. (Granted some of those problems were solved by learning curves and reluctantly accepting that all footage must be transcoded but now I'm just dealing with bugs).
These are the headaches I'm dealing with in the the current point releases of Avid MC: 8.5.3 - After a few days a Memory Leak opens up and it makes exports stall out and the only way to get the timeline to export out is to reinstall 8.4.5 8.4.5 - After about a week of usage the timeline bogs down eventually slows to a crawl so every move of the timebar stalls the system for 5 to 15 seconds. Only way to fix is to install 8.5.3 and work on the project till the memory leak rears it's ugly head then reinstall 8.4.5 to export.
8.2.8 (or whatever is the latest) - Error on install refuses to complete installation so haven't been able to use it. I told him that I'm thinking of moving my show back to premiere because Avid is next to unusable after a few days of editing.
And I'm spending almost half my time tending to Avid problems instead of editing. He was surprised to hear I was having so much trouble. And I said, 'you don't have these kinds of problems on your Avid edit bays?'
He said occassionally but not to the extent I was describing. And I said how long have your bays been up and running their copy of Avid? And he said their IT department does a complete wipe and reinstall of the OS, Avid and all plugins every night on all 8 bays. And I was like wait what?! Is this really how Avid is supposed to work that it needs to be reinstalled every night? And not just Avid but the entire OS. In my experience that would probably fix my problems but I'm a two man band and don't have a tech team to do this nor do I want to spend the extra 90 minutes a day doing it when I've already added so much time to my workflow with transcodes and mixdowns being added which I didn't need when I was on premiere.
Has Avid code grown so unstable that's it's become this late game Jenga statue that needs all the help it can get to stand up straight these days? It feels that way to me. And I really like Avid, I think you have such great people giving the best customer support available for any editing software out there right now. That's why I've hung in so long. But after hearing that reinstalling the entire os and all programs nightly is how corporate news keeps their avid bays stable, I've decided to start experimenting with moving my show back to premiere. Because I just don't have the time or inclination to add one more time hungry step to my workflow just to stay on Avid.
How many people work for companies who's policy it is to do this nightly Avid bay wipe? This was a subdivision of NBC that my family member worked for.
The one ray of light I'm hanging on to is that after talking to someone that had talked to some Avid engineers, they said that the engineers believe Avid 8.6 is going to be a premiere killer. I don't know what it means or what features or bug fixes are in the pipeline but I guess the engineers really feel like they have something exciting in store for us with 8.6. I hope so I was ecstatic after using 8.5 for a few days but seemed like there were performance regressions in the following point releases and that the memory cache didn't work as well in the following point releases and then the memory leak became an issue.
I was expecting new point releases by the time I got back from my trip yesterday since they seem a bit overdue especially when the memory leak in 8.5 seems to be pretty widespread. But got home last night, checked the forums 1st thing and still no new point releases. And got the notice today that the new premiere releases are out.
So downloading those now. Believe me I'm no adobe fan boy. Their customer support was the worst when I used it and premiere had just as many bugs at the time. But right now I'd rather have some new problems than keep grinding away dealing with the current Avid point release problems. Is this really how Avid is supposed to work that it needs to be reinstalled every night? And not just Avid but the entire OS.I have never known of anyone considering this let alone doing it. Here the OS (admittedly Windows 7 SP1) has not be reinstalled since the computer was new (30 months ago) MC gets uninstalled and reinstalled on Windows with each new version but has never needed to reinstall in between those times.
I have MC 5.5.5 on a Mac Pro here. The OS has not been reinstalled in 4 years. MC 5.5.5 was first and last installed in May 2014. A later Mac Pro here has had 7.0.4.3 on it since early March 2015 with the same OS. Do you update or completely reinstall each newer Mac OS versions?
I've been on Yosemite ever since I switched to Avid a year and a half ago. Although I was on a PC for the first few months, had a Lenovo Laptop workstation and a Lenovo desktop workstation. I ended up selling my PC's and switching to Macs in hope of more stable performance as I was seeing some problems on the 2 pcs. Then had a mac pro trash can with yosemite before switching to two Yosemite Imacs due to long h264 render times with the Mac Pro due to the lack of quick sync in its server cpu's. In Hindsight the Lenovo Laptop seemed to be the most stable of all the 5 configurations I've had but still it had it's share of random crashes. And I only worked on it for about six weeks or so before going Mac hoping that the limited hardware options mac offers would ensure less bugginess. This has not been the case although for periods of time over the last year or so MC has been okay it just seems the latest builds are causing me the most problems.
I've been on 8.0+ ever since my most recent switch and it seems everyone that says they have solid systems is using Avid's pre 8.0 builds. I used to use MC 3.0 and 4.0 back in the day when I was just playing around making videos with Avid and don't remember having so many problems but then again they were short videos not a 22 minute show. I didn't realize I could run 7.0.x on Yosemite but just checked the compatibility matrix and looks like I can. But at this point I'm pretty burnt out on my avid experience lately and if I remember correctly AMA pre 8.0 was not great. And it's not that great in 8.x (AVCHD or any long gop non optimized video or a video with a non matching framerate causes Avid to stutter/freeze while neither of those situations is a problem in premiere) And yeah I've done about 4 clean installs of the OS and all programs in the year and a quarter I've had the Imacs. Most recently maybe 2 months ago.
And that was a complete wipe of my drive and install of the latest compatible Yosemite at the time. Maybe if I could get 8.2.x to install I wouldn't be running into so many problems. But for whatever reason it won't install (I did a full unistall of Avid 8.5 and 8.4) and I'm not wanting to do another clean wipe and reinstall of everything just to find out there's still a problem in 8.2.x or that it still won't install. It seems to me that 8.x should be labeled as Beta software since the consesus seems to be that 7 is really the latest reliable version. But there's so may 8.x features I can't imagine editing without. Not being able to search my bin or my timeline being the first two that come to mind, I'm sure there's 10 others I'm not thinking of. Hey Jayson, Glad you're putting this out there.
I think it's the most objective post I've read on the subject. In answer to your topic, here's my recipe toward creating the most stable Media Composer environment: 1. Research which version of Media Composer you want to use. Each version has a README, WHAT'S NEW, and (usually) a pinned post about it in the Community. You can usually tell which version is the most / least stable by forum comments. If you're looking to update MC, look for the versions labeled 'major bugfixes' or have the least negative comments about it. (I don't hear too many people talking trash about 8.3.1 or 8.4.4, if deployed properly.) 2.
Based on that, make sure you're using qualified hardware and a qualified version of your computer's operating system. If you're using an audio/video monitoring solution (e.g. A breakout box), make sure a driver's available for your OS / MC combo. If all of those line up, OS version + MC version + BOB driver version, you should be ready to roll.
Here's the problem with all that: 1. Everyone's situation is different.
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By 'situation', I mean: a. It turned out we both use Avid MC on our shows.
He works for a cable network news program and I edit a syndicated cable show. Cable news network vs. Syndicated cable show. Totally different working circumstances. They probably have an 'Avid workstation image' ready to clone every night over a 10Gb Ethernet or fiber channel network. They're probably using shared storage where both projects and media reside.
They probably have a zero tolerance policy on downtime since, you know, they're the news. In that environment, the MC workstations are like thin clients. If all they need is Media Composer / Newscutter locally and all the projects and media are on the network, yeah, wiping out every edit bay every night might make sense. But it's not necessary for everyone else. Hardware and software - many permutations of hardware, many install combos of software. Unfortunately, some affect MC. For example, regarding memory usage, Media Composer never uses more than 8 GB of RAM on my machine (Sidebar: I have 48 GB total).
However, if you have any Adobe apps open at the same time, and you haven't specifically told After Effects, 'Hey, you only get 16 GB of RAM,' it'll happily eat all your RAM. That's AE, Photoshop, or Illustrator. And if you're using a plugin in AE (Red Giant, Video Copilot, etc.), that RAM is consumed even faster. Granted I'm on CS6. Maybe Adobe solved that in its current CC. Nevertheless, it's another potential gotcha. People hate to read.
I'm not saying it's light reading, but every version's README, WHAT'S NEW, and pinned post becomes part of my decision-making process whenever Avid releases a new version of MC. All the info's there. The unknown - there are three tweaks I make after each MC installation: a. Pre-MC 8.x - disable App Nap on Media Composer. All of these were born of real world failure. For example,.
And this after finding out on my own that Avid started including it in builds beyond 7.0.4.2. Which leads me to. Avid must think: a. Users are techie enough to deploy and use Media Composer. Users aren't techie enough, but have the desire to learn.
Users can afford to hire someone to help them. The reality is: most people don't care. They don't care about codecs, frame sizes, or frame rates. They wanna tell their story. MC can do that, but only after you come to grips with a bunch of tech stuff first.
I think it's cool. I like learning. But if you've ever tried to talk to 99% of the human population about this, their eyes glaze over.
And some of those 99% are Avid users. I've become the resident Avid expert, but that's not why I was hired.
My boss had trouble with Media Composer, or MCXpress NT, and I was the IT guy. Has Avid code grown so unstable that's it's become this late game Jenga statue that needs all the help it can get to stand up straight these days? It feels that way to me. I don't work for Avid, but it sure looks that way to me too.
Example: AMA? As you've seen, you have to transcode or you get bit in the end. (And background transcode? Don't even bother.) Another Example: media management.
I know that means different things to different people, but to me it means, 'Doing everything an app like MDV can do.' Avid users have been begging for clearer, simpler media management for years. (Tangential, perhaps, but still.) In the spirit of solutions: 1. Is your hardware qualified? What OS X MC combos have you tried?
You mentioned MC versions, but not OS X. Here are the two stable combos I've experienced:. OS X 10.10.5 + MC 8.4.4 - most recent stable combo with newest feature set (8.4.5 mainly benefits Avid Artist users.). OS X 10.10.2 + MC 8.3.1 - most stable combo. OS X 10.9.5 + MC 8.3.1 - also a stable combo 4. Once you find your stable OS X + MC combo, stay there.
Then weigh out your next update as outlined above. Or find your own way. Just don't be too eager to install the newest version of MC and OS X. Interesting post. In my experience, the key to Avid stability is simplicity.
Less is more. My machines have several partitions and one is dedicated to Avid. I'm currently running 8.5.3 on 10.10.5 and it's a great combo. I love some of the new features like the redesigned 'arrow' modes and I find it pretty snappy and fast. What do I mean by 'simplicity'? The Avid partition only has Media Composer and a few necessary apps - Handbrake for encoding, MPEGStreamclip for converting. If I need another app (Photoshop, etc), I reboot onto the other partition.
The less stuff that can interfere with an Avid install is out. And when I update the OS (I stayed on 10.8 for a long time, I loved it), I wipe the drive and do a complete reinstall of the System. The other key secret to Stability is to learn to cut without Caps locked.
I only lock it occasionaly, when I need to find a specific audio 'frame' - and most of the time, I do it with the manual Caps. I was taught that trick a decade ago, and once you're used to cutting without it, it's better for everybody and everything: your ears, the rythm of your cuts, even the director next to you will be thankfull that you don't kill his ears with scrubing all day. Sad side note, Avid is less stable if you're using 3rd party hardware.
I ended up picking a second hand DX and it's been rock solid since. Very helpful post Isaquit0.
This community is very generous. I too have been somewhat frustrated with Avid over the last five years rolling out buggy releases. I often feel like I trade one bug for another after every upgrade. And I'm not sure I'll ever quite forgive Avid for overhauling the control-key modifier in MC5 (lasso trimming still doesn't work right), or for giving us microscopic mute and solo buttons in that release too. That said, and for what it's worth, I am finding 8.5.3 to be pretty responisve and stable on OS 10.9.5. Avid finally fixed which was a huge step backwards starting in MC7.
The only major problem I'm now having is the which is a pretty big pain, but rendering audio dissolves usually solves it. Several of us have been working with Avid directly to get this dealt with. I don't experience memory leaks, which could be frustrating for Jayson, but could also give him some hope. Follow Isaquit0's advice: pay close attention to approved hardware, read these forums regularly, be very careful before upgrading your OS.
Thx for the thoughtful reply Isoquit0. The community here has also been another part of what's great about Avid. Yeah I empathise with the Avid engineers I imagine they had a long term game plan in place before all the 'make it like premiere' requests came across their desk and trying to satisfy all those requests has grown MC 8+ into the beast it is today. At the moment, I'm on OSx 10.5.5 and MC 8.4.5 on a late 2013 27' IMac with 32gb Ram and 4gb of Vram (GeForce GTX 780M) looks like this particular model is not on the qualified list as the lesser spec iMac from that same year is though. Which I did have for the last year but sold it a few weeks ago and it wasn't noticeably more stable. I'll try MC 8.4.4 next reinstall.
And yeah I'm all over those readme's when they come out as there's usually a few bugs I'm always looking to get fixed in each release. The problem is I've never come across a rock solid OSx and MC combination so I'm always looking to upgrade (I'm still waiting for a fix for the audio plug-in's window to quit randomly disappearing on me, and for my windows to not jump screens switching between CC and Source/Monitor every time I reopen avid.) And Thx for the new install tips! And stable combo recomendations! As for the memory leak in 8.5.3, I have tried an export after a reboot with only Avid MC open and the leak persists.
What happens is the render gets about 35% of the way and then the console starts throwing a memory error and then I can watch the memory usage grow in the activity monitor, saw it grow to 65gb's at one point and I only have 32gbs. Luckily, I don't have any problems exporting h.264's from MC except in 8.5.3 with the memory leak. I did have problems exporting h.264's from my Mac Pro trash can because of the server chips I mentioned. But it's things like that, how rendering an h.264 out of Avid isn't recommended, or how I can't get realtime playback of a lower third without doing a mixdown or like you said how something like MDVx seems to be a no brainer essential tool needed for easy media management and it just wouldn't exist on a mac without the developer writing it last month. It's things like this that make me think the Avid MC ship is out to sea without a captain. I'm on the ground in L.A. And I don't see any emerging companies using Avid.
The new media companies I work for all use premiere and a few use FCPx. One of the places that I work at used to be an all Avid political commercial house is now all premiere. I'm the one guy in the building saying hey why not Avid but the only people that are interested are the ones looking to find a job in TV. Which seems to be the last strong hold for Avid. As I hear more and more stories of films moving to premiere. Anyway, I'm going to try moving my show back to premiere for now. Last night, I did a trial run moving one of my edits out of avid, into after effects and then into premiere which was shockingly painless.
Compared to trying to go from Avid to premiere. And for some reason when bringing an AAF into After Effects it only works when I drag it into the project window, right clicking and choosing import leads to an endless list of errors.
Anyway after getting my Avid cut up and running in premiere, it was pretty great. For the first time in a month I was enjoying editing. I was working on a short film I wrote and directed. Shot it in 4k DNxHD and just haven't been motivated to edit it with all the problems I had been having with Avid. But I actually got some momentem going working with it last night in Premiere.
In premiere, it plays back in real time. I press play and the bar moves forward the same instant. The 4k looks amazing compared to whatever sub resolution trick that Avid does to the 4k in the source monitor.
The responsiveness of the timeline was great click on a clip and it gets selected without the 1/2 second delay in Avid. It's so much more intuitive. Want to overlay a clip on another clip, just scale it down to 50% no need to hunt for the picture in picture effect and then the effect editor. And I haven't done an edit in premiere in I don't know how long atleast 4 to 8 months.
But since I have the same keyboard shortcuts set up in both programs it was pretty much a seamless transition. Oh and the title tool compared to that damned NewBlue devil tool that is the most counter intuitive piece of software I've ever had to use and I even upgraded it to 4.0 so I could have those bleeding edge new features like horizontal align;) I mean so far there hasn't been a moment where I'm like man wish I was back in Avid. The amount of things that come free in Adobe that I have had to pay for inferior solutions for in Avid makes me wonder why I've stayed away so long. The NewBlue Stabilizer I bought is junk compared to the Adobe Warp Stabilizer. I've had to buy two Audio monitoring plug-ins both of which suffers from the disappearing audio plugin window bug I've waited for three 8.x releases to get fixed, meanwhile adobe comes free with one of the versions I paid for in Avid and it's bug free in premiere. Oh wait there is something I would absolutely miss leaving Avid, Symphony, I love Symphony.
It is the one thing in Avid that really does feel like the best implementation of a tool I've seen. Whoever at Avid designed Symphony needs to be team lead on a clean slate ground up rewriting of a successor to MC. Anyway I'm getting ahead of myself. I've had great days editing in Avid, like I said that first version of 8.5 was awesome for a few days. And I've had premiere add random red flashes to my entire show that kept me up till dawn trouble shooting to meet the satellite feed deadline but staying up till dawn to trouble shoot has pretty much been the norm for me the last few weeks so how much worse could it be. Anyway I'll let u know how it goes.
And if there is a Captain at Avid that needs a man on the ground that's really rooting for Avid in the editing wars but is succumbing to the dark side feel free to reach out. I haven’t visited these forums for a long time (maybe 12 months) as I moved all my productions back to Premier Pro, I became feed up with Avid’s performance and constant buggy daily performance with basic editing tasks. With PP you can throw everything at this and it just plain works, day in, day out! Doing the same with Avid MC is hopeless and actual costs more in wasted time which could be spent editing.
It’s a shame really as I like Aivd, however on productions that need to be finalised with strict deadlines PP is the winner. My two cents worth: Avid needs to re-write the program code/engine and release a new version that one can edit without all the issues in getting the program to function and also perform on par with their competitors.
In premiere, it plays back in real time. I press play and the bar moves forward the same instant.
The 4k looks amazing compared to whatever sub resolution trick that Avid does to the 4k in the source monitor. The responsiveness of the timeline was great click on a clip and it gets selected without the 1/2 second delay in Avid. It's so much more intuitive. Want to overlay a clip on another clip, just scale it down to 50% no need to hunt for the picture in picture effect and then the effect editor. And I haven't done an edit in premiere in I don't know how long atleast 4 to 8 months. But since I have the same keyboard shortcuts set up in both programs it was pretty much a seamless transition. I won't be an Avid apologist here.
Just a question. I seem to have a very different experience with the basics of Premiere.
I edit a lot with a variety of source size and frame rates. I use AJA Kona 3G IO. High speed raid and last generation Mac Pro towers. The basics of play, stop etc on both Rec and Source are great on MC.
In Premiere on the same system playback in the source window does odd things, audio drops in and out. Aspect ratio can be weird. Once cut into the Rec window things are ok. Except for stop. I press stop (space bar) and it is somewhere between 5 and 10 frames before it stops. I feel like the old tape system was better!! Do you see stuff like this or is it just at our facility?
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