Many good points being made. 

I do the docking thing for containers Cam (as they can contain many bins Id rather not puzzle about where these bins are) so they are open and docked and show me their tabs, but it never sticks and quickly dissapears in favour of some master window that hides stuff behind it.[:'(]

Anyway can you conform if audio waveforms work fabulously in 2022.12 pls?  Just rough cut 30 mins down to 10 and the waveforms STILL havent populated up... Cleared caxhe and set mem high etc.  Deleted the 2018 wfm cache that goes with the project too to try in case there is some mismatch between versions. Seems so dysfunctional in 2022.10? Is it scripsync taking priority or something - cant see a way to disable it..

Also when I enter trim tool at the end of a sequence and press play, as I have done for decades, it does nothing.  You cant play on to find a later 'out' or just see whats there - again is that me?

DIESELE:

it never sticks and quickly dissapears in favour of some master window that hides stuff behind it

When you're switching from doing one thing (basic editing) to something else (color correction, audio, effects) are you using the workspace buttons? I mean the ones arranged vertically along the side of the monitor.

Or are you going to color correction by pressing the color correction mode button - the one with the three monitors on it - and going into effects mode by clicking the effects mode button - the one with the little sliders on it?

I ask because I've noticed a lot of people - especially people who have used Media Composer for a long time - are switching modes using the old buttons that used to be between the source & record monitors, and whenever they switch that way everything goes places they didn't want it to go.

Years ago I took an advanced techniques class that advised us to use workspaces, so I've been switching that way for a long time. I've saved each workspace how I like it, and when I switch from one to another I only get the windows & tools I want, and nothing is hidden behind anything or missing. 

Just trying to think of possible reasons why it's so bad for you and so easy for me.

DIESELE:

Anyway can you conform if audio waveforms work fabulously in 2022.12 pls?

I linked a 49min h264 clip in an HD project, and it took 2 minutes for the clip to fully display waveforms on both tracks.

I transcoded the same clip in the same project to DNxSQ, and it took 15 seconds for the clip to fully display the waveform on both tracks.

The only other thing I've noticed is if you show the whole sequence in the timeline window, turn on the waveforms, and then stop working for however long it takes for the waveforms to fully display on all tracks of the sequence, everything works better after that. 

Alternatively, if you click to turn the waveforms on while you're zoomed in to one part of the timeline and then immediately start editing, the system will keep trying to draw the waveforms all over again every time you adjust the view or make a change.

Again, not saying you're doing it wrong, just trying to figure out why things aren't going well for you.

DIESELE:

Also when I enter trim tool at the end of a sequence and press play, as I have done for decades, it does nothing.  You cant play on to find a later 'out' or just see whats there - again is that me?

Just tried this on 2022.12 and it worked as it always has. Sorry I don't have a better answer.

Thanks Carl - I will persevere!  I map my 4 key workspaces from the drop down workspace menu to F9 to F12 and call up the workspaces thus.  It is DEFINITELY working better than on earler versions of this software which engineering at a facilities had to raise a ticket on.

I have requested to trial the latest version as it just cant be my brand new super fast hardware on a clean install and with you sayong it works great. Waveforns are rather old school after all! Thanks for your help.

Hallo

Avid on PC: Keyboard shortcut (Ctrl+Shift+A) to deselect all channels in the timeline doesn't  function when the PC windows keyboard set to foreign language (Hebrew in my case)

the bug started in 2022.10 version and still here in the 2022.12 version

also the timecode window in active mode doesn't compressed while moving other windows but its overwritten below them

can These bugs be fixed?

You're right to be disappointed. The reality is Avid no longer care about you aa a single user. The proof is in moves like this which isolate independent users and play into the hands of the corporates, facilities, networks. There is no money in the independednts - those who made Avid's name in the first place. They don't give a *** about you. Pro Tools has been in business with Avid since the beginning and then purchased by Avid. THEY ARE THE SAME COMPANY but you/i are not being given access to this staggeringly belated/embarassing compatibility unless we pony up the cash. FFS. Same with streaming feature they introduiced during Covid which could have been a lifesaver for freelancers but the feature was exclusive to Ultimate users. Avid Fail. And don't start me on M1 support. Avid have told me "but we're a small company and you have no idea how much work it takes" which I do not accept as they are massive corporation and just choose selectively who to support and who to let hang. Their attitude sucks compared with the ever hungry BM and Adobe. So sad to see a pioneer NLE become so detached from their real base. Users will will leave Avid over time. So in the meantime consider this feature a middle finger to you and all of us who are working on our own out there. 

Wow, I was expecting to read about the pros and cons of MC 2022.12...

camoscato:

I like having docked bins, tabbed bins, and workspaces set up for different screen setups and different workflows.

Try this: CTRL-f and search for an existing clip, double click it, if the bin's clip is not already open it will open as a floating bin, or again match frame any clip from a sequence, in the player window click on the find bin command, if the relevant bin is not already open it will pop up as a floating bin. These floating bins will stay on top of whatever it was displayed no matter what, one has to open them in the main bin container and manually close the floating istances, the thing is that You might have no access to the dock hidden under the floating bins. Not to mention floating stuff hidden by the docked stuff. And why the heck I have to maximise the dock whenever I restart MC? Can't it stay "full screen" by itself, as I've left it in the previous session(s)?

camoscato:

{yell at cloud} First off, make the legacy Title Tool work with current systems.

Next, launch Titler+ into the Sun and add a chapter to the Charter of the United Nations forbidding all the people of the Earth from ever speaking of it again. 

Then I'd fix the licensing, which is an overcomplicated mess. Step off the path of 'here's a basic Media Composer and here are all the options you can buy separately'. We've walked that path before with Xpress Pro, and all it did was piss people off while adding to the complexity of products and pricing. Avid should offer Media Composer, and with that you get all the bells and whistles - ScriptSync, Phrasefind, ProTools export, bin sharing, and whatever other options there are currently or in the future.

There should be daily/weekly/monthly/yearly subscriptions, and you should be able to run any version that exists while your subscription is active (assuming your computer meets the specifications for the version you want to run).

While your subscription is active you should not have to connect to the internet, or log in to any apps or websites. (The only exception to this is if you want to switch computers, in which case whatever computer is being used should automatically connect to the internet and take control of the active subscription.)

Of course I'm a television editor, and I know nothing about programming or running a company. If anyone would like to offer counter-arguments to any of this, please address them to that brick wall over there ------>

{/yell at cloud}

I yell with You.

Sadly I have left my perpetual licenses expire, I will keep to use the software as long as it will be fit for the job, eventually subscribing to a new version if and when needed, and if other options won't be more attractive. I really think it's silly of Avid to force long time customers to drop perpetual licenses along with dongles and move to subscription, and to split the user base between class A citizens (Ultimate users), and class B standard MC customers. I alternate working at my own studio and freelancing, perpetual with upgrades at a reasonable price was my preferred path, but the company's board doesn't want me to do it, they rather take the risk of losing me and many other John Does and concentrate on the film/broadcast market, the marketing gurus made the decision long ago. The thing they do not understand is that if they keep to phase out all of the indipendent users out there, there will be no workforce trained to run the software at the broadcast facilities sooner or later, period. Will Avid survive on film editors alone? Not when the current generation will retire, period dot two.

Sad and disappointed, or the other way round, happy new year to You all.

luca.mg:

I alternate working at my own studio and freelancing, perpetual with upgrades at a reasonable price was my preferred path, but the company's board doesn't want me to do it, they rather take the risk of losing me and many other John Does and concentrate on the film/broadcast market, the marketing gurus made the decision long ago.

While your point is clear I think your believe Avid is pleasing the film/broadcast market with the current policies is not accurate. I completely agree that limiting the features on perpetual licenses is wrong especially for those long term users but those perpetual licenses are typicall also used by the film/broadcast market.

While everybody understands Avid needs to make money and that the development of new features needs to be paid, the way Avid is trying to push its users into subscription is going in a bad direction imho. And that applies to both the independant user and broadcast facilities. The current method is simply taking motivation away for Avid to develop features that are valued by its customers as both functional and techically of good quality. The user base is simply asked to prepay assuming the new features Avid is working on, which by law they can't share any info on, are worth it, while at the same time it takes Avid years to get features like Titler+ and Dynamic relink right. And it is also not clear which features are going to be limited to which license, basic, ultimate & enterprice. In other words, the subscription model is currently being used to get away with a lack of resources to develop fully functional new features.

My perception is that Avid is undermining the trust its customer base, especially the long term users, has in the company and its products and that in these forums this is most visible for independant users as these forums are a valuable location for information and sharing opinions for them.  

Avid is more concerned with this:

• Paid Cloud-enabled software subscriptions increased by an all-time record of 32,600 during the quarter to approximately 482,900 as of September 30, 2022, an increase of 24.1% year-over-year.

Once my support for my perpetual runs out, I'm not going on their sleazy subscriptions.

Stepping out of the licensing convo to say that the new 2022.12 crashes the Filmlight Baselight plugin.

The plugin will crash and you get "an unrecoverable error occurred" popup. Forums searches show that this error popped up in earlier Avid versions (mid 2018) and was tagged as a bug. I've been able to go back to 2022.10 and have the plugin work properly.

I was overdue for a version upgrade on Baselight, so I originally thought that that was the problem, but after upgrading Baselight both older and newer Baselight versions crash out.

I contacted Filmlight and Avid support, they are aware of this issue.

Logged by Avid as MCCET-4957 Serious Error Occurred error message (on second launch) when Baselight effect is applied to opened sequence

bonang:

Great that Avid squeezed in an update before year's end. Could someone please summarize all the updates/fixes made to Titler+? I couldn't find them in the "New to MC..." as above - thanks.

Hi there, 

There is nothing to update you on. 2022.12 didn't feature any T+ improvements.

camoscato:

Then I'd fix the licensing, which is an overcomplicated mess. Step off the path of 'here's a basic Media Composer and here are all the options you can buy separately'. We've walked that path before with Xpress Pro, and all it did was piss people off while adding to the complexity of products and pricing. Avid should offer Media Composer, and with that you get all the bells and whistles - ScriptSync, Phrasefind, ProTools export, bin sharing, and whatever other options there are currently or in the future.

Hey, Carl

Yes, licensing is a bit complicated and messy, however, I feel that there are benefits to having a more affordable 'mini' version of MC. 

Think of a facility, with a creative QC room. The system in the QC room doesn't need script sync, phrasefind, or newscutter. So why should the operator pay for those features? They just need markers and a timeline, connected to a Nexis. 

I feel that making the restrictions clearer would be a better step... Adding more 'options' 

For example... having a 'connect to Nexis' option or in this case a 'export to pro tools option' alongside the current script sync, phrase find etc options.  

That way we can choose and pay for the features we actually need and use. You might not save that much money on one system, but over multiple systems that saving will add up... esp on a subscription.  

Blackmagic design has a very different business model to Avid so probably not the best comparison point. I could compare Avid to Filmworkz (the guys who make Nucoda) if I wanted to... Nucoda costs £100/month + and that 'just' does colour!

I'm on perpetual and I'll just use AAFs. They are just as simple as this export to pro tools magic... IMO

Eyal CB:

Hallo

Avid on PC: Keyboard shortcut (Ctrl+Shift+A) to deselect all channels in the timeline doesn't  function when the PC windows keyboard set to foreign language (Hebrew in my case)

the bug started in 2022.10 version and still here in the 2022.12 version

 

also the timecode window in active mode doesn't compressed while moving other windows but its overwritten below them

can These bugs be fixed?

Hey there, 

Let me forward this on. 

Thanks for posting!

Steen Hansen:

Same with streaming feature they introduiced during Covid which could have been a lifesaver for freelancers but the feature was exclusive to Ultimate users. 

No chance, 

Have you tried setting up SRT? 

Very complex... not on the Avid side, but on the setting up an amazon web server side to stream the timeline to. Also latency! Much more realistic to go with a Blackmagic SDI to Zoom webcam thing as a freelancer

I can't imagine any sort of offline editor doing it unless they're very good. 

More for productions with IT departments doing this sort of stuff

Hi Philip,

Philip Kapadia:

I feel that there are benefits to having a more affordable 'mini' version of MC. Think of a facility, with a creative QC room. The system...

I fully understand, and I agree with you that there are reasons why some users would prefer to pay less and skip the features they don't need.

I also remember, though, 15 years ago when Avid offered Media Composer alongside Avid Xpress Pro, which was exactly like Media Composer, but with some of the features disabled. It was marketed toward independent editors and smaller post houses with (presumably) smaller budgets.

Back then there were only 1 or 2 big releases per year, and invariably there would be some really cool new feature in Media Composer that the Xpress Pro users didn't get, and they all complained about being treated like second class citizens. At least on the forum, the vibe wasn't, 'Oh, cool, a stripped down Media Composer that lets me avoid paying for features I don't need.' It was very much, 'Avid only cares about big Hollywood productions, and is perfectly happy for smaller customers to jump ship to Final Cut Pro.'

Now that feeling is back. Symphony, Phrasefind, Scriptsync, bin sharing, and now ProTools Export are all useful to somebody, and the person that has to pay more to get the one that's useful to them is going to feel cheated.

Steen Hansen:

The reality is Avid no longer care about you aa a single user. The proof is in moves like this which isolate independent users and play into the hands of the corporates, facilities, networks. ... you/i are not being given access to this staggeringly belated/embarassing compatibility unless we pony up the cash.

derekg:

Sad to see how Avid has lost it's way and essentially now ignores anything but the major broadcast facility market. 

ns400r:

EXTREMELY DISAPPOINTED that Avid has not made Pro Tools Session exports available to perpetual users. What a SLAP in the face to those that have supported Avid over the years.

ripvanmarlowe:

Slap in the face is right, this is a terrible mistake.

damien78:

I may reconsider my long term commitment to MC if I am under the impression that significant features - in particular in terms of workflow - will be available to subscribers only.

These are all just from this thread in an 8 day period in which much of the post-production world was on holiday. Ask yourself if this amount of anger is worth selling cheap licenses to big facilities.