The Sony DSR-PD175 SD camcorder (HVR-Z5 without HDV)

Categories: Miscellaneous 6 Comments

175=Z5Very interesting Sony have decided we are not all going to follow the HD Pied Piper after all, instead they now decide to back peddle and introduce the DSR-PD175 mini DVCAM camcorder, just when we were all about to auction our spare mini DV tape on EBAY.

Even more interesting is the fact that this camcorder is in-fact a Sony HVR-Z5 without HDV…this is such a backwards step by Sony. Tom Hardwick pointed out in DV INFO that this is nothing more than a Z5 without the HDV badge, it even tells us in the Sony PR “It uses the same chassis as the state-of-the-art HVR-Z5E HDV Camcorder introduced in 2008″..OK it’s £500 less than a Z5 but why should you buy the exact same camcorder for £500 less with no HDV. This also gives us a heads up with it’s low light capabilities as it will be no better than a Z5 which I have reviewed and can be viewed in the VIDEO TUTORIAL section of this blog.

The price is disappointing for one reason…it’s SD, no interchangeable lens and TWO YEARS OLDER TECHNOLOGY (2007 for 2008 launch)…£2500 would have been nearer the mark.

dsrpd175p-_nl-webThe Sony line..

Class Leading Standard Definition Handheld Camcorder

The DSR-PD175P is simply the best standard definition handheld camcorder ever produced by Sony. It uses the same chassis as the state-of-the-art HVR-Z5E HDV Camcorder introduced in 2008 with many of the same advanced features, including the all-new high performance Sony G-Lens which combines a ClearVid array and advanced Exmor image-processing technology for class leading picture quality and low light performance.

The weight distribution and control layout of this chassis has set new ergonomic standards for handheld operation, while operational flexibility is further enhanced by support for the HVR-MRC1K Compact Flash Solid State recorder. In every respect, the DSR-PD175P is a natural successor to the legendary DSR-PD170P Camcorder for customers who need the highest performance and latest technology but don’t currently have a requirement for High Definition.

DVCAM is the global standard for professional Standard Definition acquisition introduced by Sony as a higher performance, more reliable version of consumer DV while retaining full compatibility. Its advantages are further extended by a comprehensive product range, including Master Series VTRs tailored to broadcast requirements. Typical DVCAM applications range from wedding videography to corporate video and broadcast television. It is the ultimate ubiquitous digital broadcast and professional tape format.

Sony’s Exclusive High-performance G Lens

Discover the exceptional optical performance of Sony’s G Lens. This sophisticated lens incorporates Sony’s unique optical technology and unparalleled quality control. Moreover, it’s been optimised to perfectly complement the camcorder’s advanced image sensor and image-processing technology, thus expanding your shooting possibilities.

mk09070102_03_dsrpd175p-_nl-1Express yourself more fully with the utmost precision of Sony’s G Lens.

Major ‘G’ Lens Features on the DSR-PD175P

  • The camcorder’s 29.5mm wide-angle, 20x optical zoom ‘G’ Lens offers a field of view that’s ideal for many shooting situations, ranging from broad landscape shots to close-up shots where it is difficult to obtain sufficient distance from the subject.
  • Two ED (Extra-low Dispersion) glass elements reduce the chromatic aberrations caused by differences in light refraction to minimise colour fringing. The advanced 10-group, 15-element lens structure also includes three compound aspheric lenses for images that are crisp and clear, even when shooting at a high zooming ratio.
  • Advanced optical lens technology enables Sony’s Exmor Sensor system realise sharper images with higher resolution and less noise, even when shooting in very low light.
  • The six-blade iris diaphragm is almost circular, which allows operators to incorporate creative background blur into their shots for beautiful visual effects.

Natural-touch Lens Operation

The ergonomic layout of the zoom, focus and iris control rings makes operation of these three functions possible with just one hand.

The zoom function can be controlled by any of the following:

  • The lens barrel ring
  • The lever at the lens grip
  • The lever on the camera handle

A high-speed zoom mode is also available. The digital extender system increases the zoom ratio to approximately 30x.

The iris control ring can be customised via the menu to:

  • Select and control the iris or the exposure
  • Open and close iris direction

The exposure function is ideal for varied shooting environments that range from very dark to very bright, allowing easy one-handed control using single-ring operation.

Sony’s Super SteadyShot system (optical) helps you achieve a stable picture, even when camera handling is unsteady.

Three built-in ND (Neutral Density) filters – 1/4, 1/16 and 1/64 – help to vary the depth of field with iris control.

Cutting-edge Imaging System With Exmor Technology

The DSR-PD175P boasts cutting-edge features including unique Exmor technology which maximises the potential of the camcorder’s imaging system. This includes the same column-parallel A/D conversion and dual noise-cancelling method used in Sony’s top-of-the-line camera models. Multiple A/D (analogue to digital) converters on each pixel row convert analogue signals to digital as soon as they are generated, unlike traditional technology that only has one A/D converter on each chip.

Exmor technology helps eliminate the influence of external noise, which can often enter the signal chain during transfer to the A/D converter. As a result, you get high-quality digital signals with extremely low noise.

By adopting this groundbreaking technology, the Exmor Sensor system enables the DSR-PD175P to achieve a low light sensitivity of just 1.5 lux (At 1/25 shutter, auto iris and auto gain).

Progressive Scan Mode

The DSR-PD175P provides SD-quality 25p footage. The 25p image captured by the sensor system is recorded as an interlaced signal by dividing each frame into two fields. This enables compatibility with current editing and monitoring equipment that only accept interlaced signals, while maintaining the quality of the 25p image.

Progressive scan mode is suitable for feature films, documentaries and music videos, where the content is required to have the filmic look.

Picture Profile

Up to six different picture set-ups, including gamma and colour settings, can be registered in the memory as a Picture Profile™. This labour-saving function allows operators to easily recall customised picture set-ups for various shooting conditions. It is also useful for matching footage shot at different times or for multi-camera operation.

Smooth Slow Rec

The Smooth Slow Rec function of the DSR-PD175P enables smooth slow-motion playback by capturing images 4x faster than normal (200 fields/s). In this mode, quad-speed images are captured for six seconds, stored in the built-in buffer memory, and then recorded to tape (in either DVCAM or DV format) as slow-motion pictures lasting 24 seconds.

This quad-speed image capture is the fastest speed available on any compact handheld camcorder.

Smooth Slow Rec is ideal for sports or nature photography, where the action can be viewed more easily in slow motion, and opens up many creative possibilities.

Shot Transition Function

The Shot Transition™ function allows for smooth automatic scene transitions. After you have programmed a shot’s START and END point settings (e.g., for zoom, focus, iris, gain, shutter speed and white balance) and pressed the start button, a smooth picture transition takes place over the duration of the shot by automatically calculating the intermediate setting values.

Transition types can be selected from a choice of LINEAR, SOFT STOP and SOFT TRANS, and transition time can be set from 3 to 90 seconds.

DVCAM/DV Selectable Recording

The DSR-PD175P adopts the DVCAM format, which is the worldwide standard SD format for professional handheld camcorders.

If you require a longer recording time, the DSR-PD175P is also capable of recording and playing back DV format signals (SP mode only).

Assignable Features

The DSR-PD175P provides up to seven ASSIGN buttons for quick access to frequently used functions suitable for variable shooting conditions. Some default functions are pre-assigned by name.

The assignable functions are AE Shift, Back Light, Colour Bars, Digital Extender, End Search, Expanded Focus, Fader, Focus Macro, Hyper Gain, Index Mark, Marker, Peaking, Photo, Picture Profile, Push Auto Iris, REC Review, Ring Rotate Direction, Shot Transition, Smooth Slow REC, Spot Light, Steady Shot, TC Reset and Zebra.

XtraFine LCD Panel

The DSR-PD175P is equipped with a 3.2-inch-type widescreen XtraFine™ LCD panel on the front of its handle. This has a high resolution of approximately 921,000 pixels, which allows for easier focus adjustments. It can also display virtually 100% of the recorded picture area at a colour temperature of approximately 6500K.

XtraFine EVF

The 0.45-inch-type XtraFine EVF (Electronic View Finder) has approximately 1,227,000 pixels and three independent LEDs for red, green and blue colours. This technology allows users to monitor objects with remarkable colour reproduction accuracy and high resolution*.

The EVF has a choice of colour or black-and-white display modes. It also displays virtually 100% of the picture area at a colour temperature of approximately 6500K.

* When the camcorder is panned quickly, or when an object on the screen moves quickly, the R/G/B primary colours may be seen on the object in the EVF momentarily

InfoLITHIUM L Series Battery Compatibility

The DSR-PD175P uses the same L series batteries as the DSR-PD170P, so you can use your existing chargers and batteries

Versatile Audio Input Selection

The DSR-PD175P offers a versatile choice of audio inputs. It features a newly designed high-quality built-in stereo microphone, as well as two XLR audio input channels for connecting to either professional microphones or an external-line audio source. A 48V microphone power source can also be supplied.

By adjusting the INPUT ASSIGN switch located on the side panel of the DSR-PD175P, you can easily assign the two audio input channels to either the built-in stereo microphone or an external-line audio source, or dedicate one channel to each and record them separately or mixed.

When assigned to one channel, the built-in stereo microphone acts as a wide-directional monaural microphone.

On-handle Zoom Lever and Rec. Start/Stop Button

In order to facilitate zoom control and recording operation during low-angle shooting, an additional zoom lever and a rec. start/stop button have been added to the carrying handle. The rec. start/stop button has a hold function to prevent accidental operation.

The three-position slide switch located on the side of the handle lets users select the zoom control type from FIX, VAR and OFF. In FIX mode, zoom speed is determined by the speed setting selected in the menu, where eight speeds are available. In VAR mode, zoom speed can be adjusted manually using the zoom lever.

HYBRID Solution With HVR-MRC1K

The DSR-PD175P is ready for HYBRID DVCAM/DV operation, when connected to the optional HVR-MRC1K Memory Recording Unit via an i.LINK connector. In HYBRID operation, you can simultaneously record video footage to both a tape and a standard CompactFlash (CF) card.

Three recording options:

  • Synchronous recording
  • Relay recording
  • HVR-MRC1K-only recording

For user convenience, the DSR-PD175P can display status information of the HVR-MRC1K on its LCD. This status information includes:

  • Connection status
  • REC status
  • Remaining CF recording time

The recording time on a 16-GB CF card* in DVCAM and DV format is approximately 72 minutes.

* At least 133x speed and 2-GB capacity is required.

One-touch Clip-type Microphone Holder

A one-touch clip-type microphone holder makes it easy to attach and remove the microphone for quick storage.

Digital Still Camera Function With Memory Stick Duo

The Memory Photo function allows the camera to be switched to progressive scan mode for capturing still images. Files can be recorded on Memory Stick Duo™ media in a choice of two sizes: 1080×810 pixels (4:3) or 1440×810 pixels (16:9).

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Adobe’s official line on Snow Leopard compatibility

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Adobe

Adobe Creative Suite 4 Solutions and Mac OS X Snow Leopard

Q Are Adobe® Creative Suite® 4 products and components compatible with Mac OS X Snow Leopard (v10.6)?

A. Yes. Working closely with Apple, Adobe has tested and determined that our Adobe Creative Suite 4 products and components are compatible with Mac OS X Snow Leopard.

Q. Is Mac OS X Snow Leopard (v10.6) important to Adobe Creative Suite 4 customers?

A. Yes. Mac OS X Snow Leopard (v10.6) —the latest version of Apple’s operating system—delivers a productive computing experience for creative professionals. Adobe and Apple have worked together closely to test that Adobe Creative Suite 4 products and components run reliably and efficiently on Intel‐based systems running Mac OS X Snow Leopard (v10.6) with optimal performance and user experience. Please see below for known issues we have discovered in our testing. As with any new release of an operating system, there may be additional unexpected issues that arise that may not have been uncovered during our testing efforts.

Q. Will older versions of Adobe creative software—such as Adobe Creative Suite 3 or Macromedia® Studio 8 software—support Mac OS X Snow Leopard (v10.6)?

A. Older versions of Adobe creative software were not included in our testing efforts. While older Adobe and Macromedia applications may install and run on Mac OS X Snow Leopard (v10.6), they were designed, tested, and released to the public several years before this new operating system became available. You may therefore experience a variety of installation, stability, and reliability issues for which there is no resolution. Older versions of our creative software will not be updated to support Mac OS X Snow Leopard (v10.6).

Q. Will Adobe continue to test its Adobe CS4 applications on Mac OS X Snow Leopard (v10.6)?

A. Yes. Adobe sets high standards of quality, stability, and reliability for our professional products, and we worked closely with Apple to test that Creative Suite 4 products and components run on Mac OS X Snow Leopard (v10.6). Please see below for known issues we have discovered in our testing. As with any new release of an operating system, there may be additional unexpected issues that arise that may not have been uncovered during our testing efforts. If you encounter any issues, please report them by going to www.adobe.com/misc/bugreport.html and clicking “Report A Bug”. Please note that we do not respond to submissions, however we do review the information closely with the appropriate teams, and continue to test and monitor the user experience.

Q. Do any of the Adobe CS4 applications require updates to be compatible with Mac OS X Snow Leopard (v10.6)?

A. If you are running the latest updates for Creative Suite, Acrobat® software, and Adobe Reader® software, your software will operate on Snow Leopard (v10.6). However, please see below for known issues we have discovered in our testing. Please note that Acrobat users do need to have version 9.1 or later installed in order to produce Adobe PDF files on Snow Leopard (v10.6). Select the “PDF” button in the Print dialog and choose “Save as Adobe PDF” to access the new feature. You can visit www.adobe.com/support/downloads to monitor if and when any updates are posted, or search on the keyword “Snow Leopard” for more details.

Q. How do I install any required updates for Mac OS X Snow Leopard (v10.6) compatibility?

A. For Acrobat, users will need to update to version 9.1 or later to operate on Snow Leopard (v10.6). Updates for Acrobat and other Creative Suite products and components are made available through the Adobe Updater, a utility that is installed with Adobe products or components to manage the download and installation of updates for you. As long as the automated notification feature in Adobe Updater is turned on, you will be alerted automatically when the updates are available. You can then follow the onscreen instructions to download and install the updates. Alternatively, you can open the Adobe CS4 product or component that requires an update, choose Help > Updates to open the Adobe Updater, check all of the updates you want, and click Download and Install Updates. Lastly, you can also visit www.adobe.com/support/downloads to monitor when updates are posted, then download and install the updates for each relevant Adobe CS4 product or component.

Q. I am a volume licensing customer. How do I get updates for my Adobe CS4 products or components?

A. Adobe recommends following your company’s internal guidelines to manage updates. You may want to contact the IT or technical person who manages your Adobe licenses for information about your corporate policies on updating software. For volume licensing customers, information is available for IT managers on how to silently push installations of Adobe CS4 updates at http://kb2.adobe.com/cps/491/cpsid_49171.html. For individual users, there is an Adobe Updater (choose Help > Updates) to download and install updates for Adobe CS4 products and components for individual system updates.

Q. Are the trial versions of Adobe CS4 products and components compatible with Mac OS X Snow Leopard (v10.6)?

A. Yes. If a full version of an Adobe Creative Suite 4 product is compatible with Mac OS X Snow Leopard (v10.6), then the trial version of that product is compatible as well. The known issues described below also apply to the trial versions.

Q. Is Adobe aware of any major issues, bugs or odd user experiences when using Adobe CS4 products or components with Mac OS X Snow Leopard (v10.6)?

A. Adobe Creative Suite 4 solutions are designed to perform to the high standards and level of performance, quality and user experience our customers expect. In our testing, we did discover a few functional areas that display unusual user experiences. One involves a unique configuration running Adobe Creative Suite Infrastructure (CSI) update v1.0.1 on Mac OS X Snow Leopard (v10.6). Users may be unable to update their CSI Extensions via the Connections Panel. The cause is related to interaction between Creative Suite 4 products and Apple’s JavaTMRuntimeEnvironment(JRE)v.1.6. The update wil appear to be complete, but the user will again receive notification that the update is available at every update check interval. Users who have not installed the CSI update v1.0.1 will not be impacted, but they also will not receive notifications about available extension updates. Users who installed the CSI update v.1.0.1 and the corresponding extension updates prior to upgrading to Mac OS X Snow Leopard (v10.6) will also not be impacted by the issue. Adobe Extensions affected include the Connections panel itself, the KulerTM extension, Search for Help, and Share My Screen. Adobe plans to have an additional update for the CSI and related files as soon as possible. Our testing has also uncovered another issue involving Adobe Drive used with Adobe Version Cue® CS4 Server. At this time, Adobe Drive does not run on Snow Leopard (v10.6). For customers that are dependent on Adobe Drive and Adobe Version Cue, we recommend that they do not upgrade to Snow Leopard at this time. Please visit www.adobe.com/support to check the Adobe knowledgebase for the latest information related to Mac OS X Snow Leopard (v10.6).

Q. I use a number of plug‐ins with my current version of Creative Suite. Are these plug‐ins compatible with Creative Suite running Snow Leopard (v10.6)?

A. Adobe has conducted testing that has shown that some 3rd party plug‐ins are not compatible with Adobe After Effects® CS4 running on Snow Leopard (v10.6). Customers are encouraged to check plug‐in compatibility by contacting the plug‐in vendor before upgrading to Snow Leopard (v10.6). For third‐party products, contact the manufacturer for guidance on their support for Snow Leopard (v10.6).

Q: Is Adobe aware of any major issues, bugs or odd user experiences when using Acrobat or Adobe Reader with Mac OS X Snow Leopard (v10.6)?

A. Adobe has tested installing and running Adobe Reader 9.1 on Snow Leopard and has found a few issues. Customers will receive an “Invalid System Check” message when downloading and installing Adobe Reader with Snow Leopard in 64‐bit mode. To install Adobe Reader on Snow Leopard, download and run the installer with the operating system running in 32‐bit mode. Adobe Reader will then run in either 32‐bit or 64‐bit mode. Please note that older versions of Adobe Reader are not supporting Snow Leopard. Also, Acrobat and Adobe Reader will not view PDF files within Safari when running Snow Leopard in the default 64‐bit mode, but PDF files can be opened outside of the browser. PDF files can be viewed in‐line when running Safari in 32‐bit mode. Please visit www.adobe.com/support to check the Adobe knowledgebase for the latest information related to Mac OS X Snow Leopard (v10.6).

Q. Will Adobe offer technical support for its CS4 products and components running on Max OS X Snow Leopard (v10.6)? What about for older versions of Adobe’s Creative Suite software?

A. Adobe will support Creative Suite 4 software running with Snow Leopard according to its standard customer support policies. Older versions of Adobe Creative Suite software were not designed to run on Mac OS X Snow Leopard (v10.6), so you may experience issues installing and using the software for which there are no solutions. Please note that support for Creative Suite 3 applications is currently available through Adobe’s paid support program. Visit www.adobe.com/support to check the Adobe knowledgebase for the latest information related to Mac OS X Snow Leopard (v10.6), and for detailed information about our complimentary and paid support programs.

www.adobe.com

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Fast stabilizer for FCP from Core Melt

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Core Melt

CoreMelt has released Lock & Load, a new video editing plugin for Final Cut Pro. It’s a stabilizer that the folks at CoreMelt say runs at six times the speed of Apple’s built-in stabilizer, Smoothcam.

Lock and load is capable of intelligently ignoring foreground motion, even on busy scenes or with dark backgrounds. No need to choose tracking points, as the plug-in intelligently analyzes the entire clip for you. With intelligent adaptive zoom, Lock & Load will automatically compensate for differing levels of movement and zoom in to remove edges.

It removes or smooths rotation and zoom changes as well as X and Y movement. Lock & Load analyses only the portion of the clip you select, so there’s no need to export and re-import long clips. It works with all kinds of footage, no “too much movement” errors.

The multithreaded motion analysis uses all processors on your system. Lock & Load offers a realtime preview of the smoothed clip without rendering.

Lock & Load normally retails for US$149. However, through Sept. 8 you can get it for $129. And if you already own CoreMelt Complete V2, you can buy Lock & Load for $99.

www.coremelt.com

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Snow Leopard is out…28th August 09…full review next week !

Categories: Miscellaneous 1 Comment

SnowLeopard-web

Remember Snow Leopard will only install onto an Intel based Mac…as you might have guessed HD Warrior will have a full review of the new operating system next week, assuming my programs still work !

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Larry Jordan’s Tip of the Day…Marking Audio Peaks

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Larry-Jordan-web

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Canon conceptual CF-35 with 35mm full frame sensor for SDoF

Categories: Miscellaneous 3 Comments

CF-35-Aug09-web

The last camcorder to come from the Canon Professional stable was the Canon XL-H1s during April 2008…16 months ago…what are Canon playing at there is a need to fill a very large hole in the film like stable and your counterparts in the 35mm stills department have unearthed this hole with the introduction of the Canon 5D Mk11 and more recently the Canon 7D.

Are Canon VideoPro influenced by their stills department…I hope not. HDV is a dying format and a very poor one technically so Canon Professional must have an SDHC or a CF camcorder soon. The market is screaming out for a true video version of the 5D Mk11.

A camcorder that will take all your EF series lenses allowing shallow depth of field (SDoF)…Solid State (SDHC or CF)…2-4 tracks of audio with XLRs…Radical chip sensor not unlike the 21mp sensor found in the 5D Mk11 for that film look (SDoF) and good low light capabilities…A Hi Rez colour viewfinder as seen on the Sony EX-3… Proper shoulder mount would be an advantage as shoulder mounting camcorders are few and far between… Decent tripod mount.

I have made a similar plea a few months back hoping Canon would get the message.

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Filming my son’s Wedding in Italy-Part Two EDITING

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Lauren & Pauls wed
Interestingly once I had loaded the footage off the JVC HM100 onto the video drive it worked as advertised straight onto the timeline without any rendering, now this is’nt the strange part but as I added various effects like “DV LOOKS” it took for ever to render and it also told me it was conforming Mpeg2 footage ? In the preferences it tells me the footage is XDCAM EX 1080 50i so what do I trust !
Do I hear a little vioce in my head… from my old boss Obewan Attkins “Look at the instructions…Phil, may the force be with you” At the end of the instruction book we are told…Video recording format : QT file format (Final Cut Pro) MP4 file format Video signals : 720p format MPEG-2 (8bit, 35/18.3 Mbps)    1080 format MPEG-2 (8bit, 35/25 Mbps).
So how did my HM700 review footage not give this grief, simple, I injested the footage through the AJA io HD and it transcoded it into ProRez. So a word of warning, JVC claim and they are 100% correct that your footage will indeed drop onto the Final Cut Pro timeline without the need for rendering but they don’t go on to tell you not to add any effects to your footage or it will take forever to render. I added a wide screen effect to the above 2 minutes and 47 seconds worth of footage and it took a good 20 minutes to render, appalling. Unless you ingest your footage via an AJA box or a Matrox box then beware of very long render times !
AJA don’t have the drivers ready yet for FCS-3 but Chuck informs me within another 2 weeks taking it to the first week in September.
The JVC HM100 was on the whole nice to use but it’s compactness fools you into a false sense of security and you tend to do a lot of hand held stuff when it would benefit from a tripod, so you end up with a lot of footage that is not as polished as it should be.

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Avid v Final Cut Pro-7

Categories: Miscellaneous 1 Comment

FCP-7-v-Avid-web

If you are new to the arena of video editing, eventually the question will arise. Which software is better, Final Cut Pro or Avid? The question can be a complex one. Each application has an army of loyal enthusiasts. Although, I won’t take sides on this issue, here are some items to consider.
The Final Cut Studio Bundle
One major difference, that must be mentioned here, is you can not purchase Final Cut Pro as a stand alone software product. It now ships as Final Cut Studio. This means you will receive the following major software components.
Final Cut Pro
Motion
DVD Studio Pro
SoundTrack Pro
Livetype
Compressor
Cinema Tools
This bundle is hard to beat. Of course, good luck becoming an expert at all of the products. LiveType, for example, doesn’t even ship with a manual. You will have to print the .pdf.
My favorite program in this bundle, is the LiveType application. LiveType is a motion graphics program that handles text effects with ease. This application is amazingly simple, yet complex enough that you can really expand upon the templates provided.
For a wish list, the only two items that are missing from this entire bundle are:
No matte tracking ability, and no true 3D. I hope to see these features added with the next version of Final Cut Studio.
Avid Xpress Studio
So be fair, you would really need to compare Avid Technology’s version of their Studio bundle called Avid Xpress Studio to fairly compete. Of course, you must purchase the Studio package as an add-on. It does not come with the standard Avid Xpress software. The Studio Bundle ships with the following applications:
Avid Xpress HD
Marquee Title Tool
Pro Tools LE
Avid FX (Boris FX)
Avid 3D (A scaled down version of Softimage XSI)
Avid DVD (Sonic DVD)
Sorenson Compression Suite
Which bundle is better?
For the average consumer, The Final Cut Studio bundle is a little easier to handle. Although each application is feature rich, most editors will be able to figure out the basics.
For Avid’s Studio Bundle, the learning curve is much higher, especially when it comes to sound design, and special effects. You’ll notice Avid includes Avid 3D in the bundle. This is an entire industry within itself. Don’t expect to become an expert with the Avid Studio applications overnight.
Supported Platforms
When your purchase that Avid software, you receive MAC and PC software. I must warn you to pay special attention to the system requirements for both Avid Xpress and Final Cut Studio before you assume the software will run correctly on an existing PC.
How does Avid’s color corrector compare to FCP’s?
Hands down, the Avids color corrector is much easier to use. It is visually easier to look at, and the controls are much more responsive. There is a one button operation that will automatically adjust your black and white balances. The waveform and vector scopes are also much easier to read. A unique feature of the Avid Xpress Pro is to color match one shot to another by displaying three consecutive clips next to each other and allow you to select certain color with a color picker to match.
It terms of functionality they are both similar. The one advantage of the Final Cut Pro 3-Way color corrector is you can limit a color selection. This means you can change one specific color without changing others.
What is the learning curve?
In my opinion Avid Xpress Pro is going to have a higher learning curve when dealing with effects. Avid Xpress Pro has two different effect modes, and there are many different tools and features that are hidden to the average user. I definitely recommend a certified training course when attempting to learn the Avid Xpress Pro effects interface.
Final Cut Pro is fairly easy to get started, but users can become overwhelmed with the number of options and different ways in performing the same function. Anyone familiar with After Effect’s style of effects editing will appreciated the Final Cut Pro interface. My advice is to stick with what you know works and then take look into taking a training class to learn how to improve your efficiency.
Keep in mind, for the new video editor, both programs can be extremely complex when it comes to learning all of the available features.

If you are new to the arena of video editing, eventually the question will arise. Which software is better, Final Cut Pro or Avid? The question can be a complex one. Each application has an army of loyal enthusiasts. Although, I won’t take sides on this issue, here are some items to consider.

The Final Cut Studio Bundle
One major difference, that must be mentioned here, is you can not purchase Final Cut Pro as a stand alone software product. It now ships as Final Cut Studio. This means you will receive the following major software components.

Final Cut Pro
Motion
DVD Studio Pro
SoundTrack Pro
Livetype
Compressor
Cinema Tools

This bundle is hard to beat. Of course, good luck becoming an expert at all of the products. LiveType, for example, doesn’t even ship with a manual. You will have to print the .pdf.

Avid Xpress Studio
So be fair, you would really need to compare Avid Technology’s version of their Studio bundle called Avid Xpress Studio to fairly compete. Of course, you must purchase the Studio package as an add-on. It does not come with the standard Avid Xpress software. The Studio Bundle ships with the following applications:

Avid Xpress HD
Marquee Title Tool
Pro Tools LE
Avid FX (Boris FX)
Avid 3D (A scaled down version of Softimage XSI)
Avid DVD (Sonic DVD)
Sorenson Compression Suite

Which bundle is better?
For the average consumer, The Final Cut Studio bundle is a little easier to handle. Although each application is feature rich, most editors will be able to figure out the basics.

For Avid’s Studio Bundle, the learning curve is much higher, especially when it comes to sound design, and special effects. You’ll notice Avid includes Avid 3D in the bundle. This is an entire industry within itself. Don’t expect to become an expert with the Avid Studio applications overnight.

Supported Platforms
When your purchase that Avid software, you receive MAC and PC software. I must warn you to pay special attention to the system requirements for both Avid Xpress and Final Cut Studio before you assume the software will run correctly on an existing PC.

How does Avid’s color corrector compare to FCP’s?
Hands down, the Avids color corrector is much easier to use. It is visually easier to look at, and the controls are much more responsive. There is a one button operation that will automatically adjust your black and white balances. The waveform and vector scopes are also much easier to read. A unique feature of the Avid Xpress Pro is to color match one shot to another by displaying three consecutive clips next to each other and allow you to select certain color with a color picker to match.

It terms of functionality they are both similar. The one advantage of the Final Cut Pro 3-Way color corrector is you can limit a color selection. This means you can change one specific color without changing others.

What is the learning curve?
In my opinion Avid Xpress Pro is going to have a higher learning curve when dealing with effects. Avid Xpress Pro has two different effect modes, and there are many different tools and features that are hidden to the average user. I definitely recommend a certified training course when attempting to learn the Avid Xpress Pro effects interface.

Final Cut Pro is fairly easy to get started, but users can become overwhelmed with the number of options and different ways in performing the same function. Anyone familiar with After Effect’s style of effects editing will appreciated the Final Cut Pro interface. My advice is to stick with what you know works and then take look into taking a training class to learn how to improve your efficiency.

Keep in mind, for the new video editor, both programs can be extremely complex when it comes to learning all of the available features.

Feature from www.geniusdv.com

“Never having used an Avid I personally cannot comment on their editing system but I do know that there was an ex-Avid editor at the recent seminar in Edinburgh with Larry Jordan.”

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Interview with Larry Jordan

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For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Shrink Ray from CrumplePop

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