Although Media 100 can play out a sequence of shots
directly from its timeline, it uses Adobe After Effects as its
compositing system, and can access Apple’s Color software
for color correction. In fact, many editors use Media 100
and Apple’s Final Cut Pro 7 software side-by-side. Media 100 can be faster when assembling a simple sequence
thanks to its ability to use an A/B roll style of timeline,
which gives the editor simple access to the pre- and post-roll handles of each shot. Even so, many editors may find
that Final Cut Pro 7 provides greater effects and image manipulation capabilities.
Sony Creative Software Vegas Pro
The Vegas Pro NLE from Sony Creative Software boasts
several firsts. It was the first editor to go 64-bit on Windows, and was the first NLE to incorporate a digital audio workstation within the NLE itself. With support for
industry-standard VST plug-ins, Vegas Pro provides the
ability to edit audio down to the sample level and perform
5.1 surround sound mixing.
The latest version, Vegas Pro 10, enables integrated stereoscopic 3-D editing and the ability to deliver 3-D projects either as two track files or single files with side-by-side, top/bottom or line-alternate encoding. It also provides ingest, preview and output of closed captioning data,
supporting industry-standard closed-captioned file types
for either broadcast or Web delivery.
Adobe Systems Premiere Pro
Many editors may suggest that Adobe Systems’
Premiere Pro NLE benefits most from the presumed retreat
of Final Cut Pro from the broadcast editing arena. As part
of its Creative Suite 5. 5 collection of software applications, Premiere Pro benefits from the development of the
Mercury Playback Engine, which runs natively in 64-bit
on both Windows and Mac platforms.
Adobe has optimized Premiere Pro for maximal use
of a platform’s GPU to enable it to handle file sizes up to
5K and beyond. It works with both the broadly accepted
OpenCL processing language and also NVIDIA’s proprietary Compute Unified Device Architecture (CUDA) parallel computing architecture. This design lets Premiere Pro
offload many processing requirements from the CPU onto
a qualified GPU.
The result is that Premiere Pro has sufficient power to
handle multiple layers of Red Digital Cinema’s 4K files
complete with color correction. Adobe has pursued an aggressive release cycle of its Premiere Pro software upgrades.
But unlike some other vendors, the company maintains
a high priority to ensure each new version is completely
backwards compatible with its predecessors. BE
L. T. Martin is a freelance writer and post-production consultant.
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