I’ve been using Premiere for a few years, on a ”legacy project” — have kept working with the CC version released in 2013 and the ”2014” version on a MBP running Mountain Lion. The suite works well — I’ve used Media Encoder a lot.
But I hate the rental system and the relentless updates, so decided to try the free Da Vinci Resolve 15, just with small test projects on an underpowered MB Air running Mojave. Both these programs are overcomplicated for my needs — compared to film editing tools. But they do things that film labs and optical printers used to do. All those tiny buttons with graphic icons — you have to use a program a lot to remember what they do. FCP 7 was similar. Interestingly, the little MB Air runs the latest premier CC version 2019? but huffs and chugs to get it loaded. Resolve loads much faster. I like the softwares that use the fixed timeline approach, starting with FCP 7 so have avoided the FCP Xs. Though I could imagine using X to compose a film the way you can compose music out of free-floating fragments on a page. But it wouldn’t be aleatory once you exported it. It seems that people only use it to make films that could have been conceived with fixed timelines. As a different kind of paste-up. Do NLE’s have any influence on the aesthetic results of a film process? Or are they just like rewinds and Steenbecks and KEMs — the film doesn’t care what machine you edit on. I’ve seen folks do interesting things with stacking or layering timelines, which is a kind of new way of editing that would have been even more laborious than optical printing. Robert Robert Withers [email protected] 202 West 80 St #5W NYNY 10024
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