OVERVIEW

This was from a review in India, a complete an oveview as I have seen...

Introduction

Pinnacle revolutionizes the broadcast Industry

In the year 1998 pinnacle took over one of the best compositing and fx software house Puffin Design that manufactured and marketed such high end compositing and special effects software like Commotion pro (sporting the fastest motion tracker and Image stabilizer), Primatte Keyer (for green/blue screens matte extraction used by top notch Hollywood wizards) Imagelounge (a set of hard to beat effects plugins) and the unbelievable Composite Wizard sporting such plugins as color match and light wrap etc (all the above three plugin packages are now included within the standard bundle of Commotion Pro4). In the year 1999 pinnacle took over the Giant of the NLE Industry Targa systems  and along with it came its targa line of  NLE cards and technology. In the year 2001 Pinnacle took over Fast assembly line of its High-End Nonlinear editing software and hardware division which included its Fast Blue, Purple, and Silver range of products. All these products ran on the software called “Fast Studio”, which was also powered Sony’s highly successful range of NLE called EditStation popularly known as ES3 and ES7.

Essentially “Faststudio Purple” a DV only software/hardware solution would begin at $6000 + options (costing extra) would include the “Intime” processing board(a board  with 6 to 8 independent processor to churn out accelerated near realtime effects and composites), a RS422 support along with high caliber Jogshuttle whereas “Silver” would feature the same “Fast Studio” interface with additional support for native Mpeg2 and simultaneous DV editing right up to “Blue” sporting all known video standard till date along with Uncompressed video, SDI I/O costing well over $60000 +. The high cost of these machines put it well beyond the reach of Serial Industry and documentarians and whose primarily buyers remained big television and satellite broadcast houses. But this was all to change, and within few months of Pinnacle takeover of Fast it announced its decision which was to send shock waves throughout the NLE Industry.

It made the fast line of Fast Studio Purple, Silver and Blue (now call Liquid Purple, Silver and Blue) a single and highly affordable integrated solution with its broadcast video servers thus delivering seamless acquisition, editing, media management and streaming and up linking (broadcasting) all flowing through one single seamless technology and apart from this, in a major move it ported the DV studio line with full “liquid purple specs” the Purple DV line of it Liquid DVstudio software only (the full production bundle without any Purple options  naturally like “Intime” processing board, RS422 support, Jogshuttle etc) although the firewire I/O remains the same so does the internal engine) and now bundled it as Edition and that too under $700.

Also EditionDv software natively remains same across all Liquid platform, In fact there is no difference in the software, so upgrading to higher end Liquid Purple, Silver, Blue is hassle free and requires no extra learning curve.

So what is this Edition?  

Well Edition is more then a simple non-linear editing software.

Think of Avid the reigning master of NLE’s, think what you like about it, its JKL key strokes, its superb logging features and topnotch media management etc, now think of discreet Edit and what do you like so much in it, its storyboard feature, its superb timeline and scrubs etc.

Editions takes all the best feature of these high end NLE’s and integrates it with some un-believable and unheard features like “Background Rendering”, “Xsend”, “sub-pixel processing”, “Instant Save” etc, which were/are not available in any other software, whether Avid to the regular Premiere, It simply beats the competition from high end to the Mac’s popular Final cut pro. Combine this with true Multitrack audio mixing with automated faders, bus routers, Voice-Over recording straight to timeline with full video sync for precise audio dubbing, and that too with ull Parametric 3-band equalizer.

Put in full and native high quality subpixel antialised “True 2D and 3D effects engine” (like the one found in Boris fx)  
Now combine this with Industry standard compositing package like Commotion 4.1 (used in Oscar winning special effect films like Gladiator, Starwars etc.

Throw in a full-fledged Dvd creation machine with full Professional DVD mastering, along with Hollywood-fx, Titledeko.

And all this technology is delivered at a jaw-dropping price.

Yes I am not fantasizing; this is what pinnacle Edition bundle delivers.

Harnessing the Dv technology to its full potential

Dv today along with its mutant DVCAM and DVCPRO remains the standard format used all over the world, be it Advertising, News media acquisition and Broadcast to Serials, Documentaries and even Feature Films have been shot on Dv and then transferred to 35mm and some have even won prestigious awards.

This was not possible with the ageing analog BetaSP’s which due to its analog structure lacked and was unable to reproduce the lush saturations and crisp sharpness that one came to associate with film like looks although higher costing (BVW series) did deliver topnotch Video quality at  62dbSNR, but was not very cost-effective and used costly analog components.

Dv under normal tests (as claimed by industry experts) not only exceeds BetaSP specs (which is debatable), but using digital components and with the falling cost of Chipsets and Processors, makes it the most affordable and Hot Format.

HD the next generation digital medium using progressive scan was touted as the future by Industry pundits but it is Dv that today still remains the centerpiece around which the Broadcasting Industry rotates.
(As HD still remains mysteriously elusive for no known reasons)

A close look at the Editing features of  Edition DV 4.5

[Equipments used: 

Sony PD150 (Dvcam camera/deck)
Matrox550 Dual monitor, P4 1800 mhz, 512 mb ram with seagate barracuda 160gb (80x2)Ultra ATA4 drives running on windowsXP
EditionDV500 4.5

System Recommended: Dual 1800mhz AthlonMP or 2000mhz dual p4X ]

Edition comes in two flavors, pure OHCI and Dv500.

The one I received came with Dv500 Deluxe complete with a breakout box with sleek metallic looks.
Another thing I noticed was that the Dv firewire I/O was built right into the box along with analog I/O, this was really cool and well thought of by pinnacle.

Installing the DV500 card and the software was a zippy. All I had to do is plug the card on an empty PCI slot and install the Edition CD along DVD Impression SE and boot.

After booting I found the Edition Icon automatically seated on my desktop.

Double clicking the Icon opens a familiar Window like desktop interface.

The first thing one notices after booting Edition is its incredibly clean workspace, which intuitively divided the workarea on my dual monitor setup by opening the project window on the left monitor, and the timeline and sequence editor on the right monitor.

One glance at the specs of Edition and one instantly knows that Edition is rich in features, and cruising through the interface one discovers that the workflow in Edition is not only simple and extremely well laid out but also very intuitive and built from ground up for pure speed.

The first look gives you a feel of a very costly edit suite and its GUI like an onscreen hieroglyphics feels more like a machine rather than a program. It is one of the best interfaces I have seen of any NLE.

Speed Speed Speed

Talking about speed, well; pressing F6 key brings up the logging tool. Logging is simple and straight forward, you mark in and out points and start capturing immediately, or simply save it all on the log-sheet for later automatic batch digitizing, also one can capture on the fly and interestingly one can also capture directly to the timeline.
One can also colorcorrect (from any analog source) at capture time and control the audio levels, with faders and peak level meter.

This integrated Video Tool feature allows instant adjustment to the Black Level, Video Level (luminance) and Chroma of the incoming video signal. All changes automatically get reflected in the video inlay.

But behind the incredible Logging feature’s and its awesome powers lies Edition’s media management capabilities.
Edition boasts an array of tools all seamlessly managed by it powerful media management engine. You start from providing the reel name, then supply all the details from Takes, to Scene details to complete Storyline, Comments etc but the most timesaving feature was that racks and folders and subfolders creation right within the capture and logging tools, so you can create very extensive database of what goes where thus building complex workflows right at the start.

In Edition Media objects are combined in racks, for example one can have a rack for audio 1 and 2 and one for the voiceover and one for special fx, similarly one can have a rack for Clips, titles, supers, etc.

Racks can contain folders, which can again contain subfolders, thus creating complex database.

In my case as I had provided all the details at the capture time so when I opened the racks I found all my media neatly placed on the specified folders, ready for edit.

This saved me incredible amount of time.

But the most fascinating and enjoyable aspect of Edition was just beginning.

If logging was intuitive and pure speed, than the Storyboard feature of Edition is pure delight.
In Edition one can Storyboard in many different ways. My favorite is to Alt + right click and trim the in and outpoints right in the racks then drag the logged/trimmed clips one by one over the other (like a stack of cards) on the desktop which works like a huge scratch board, then select the Stack + right click and select play and Edition instantly plays back your rough cut.

Also one can create several Storyboards all scattered over the desktop and if the client is sitting right on your head, he will like the intuitiveness and the pure speed at which you shuffle your way through the final cut. Also you can not only storyboard multiple versions of your project, then select the best (If you have nothing else to do, you can in fact wrap your edit session right there play the clips back to the Deck ready for Broadcast - for a documentary style cut only edit.) you can also instantly send the selected Storyboard’s (rough cut) right into the timeline with just a click. Not only that you can also send your Storyboard into multiple timelines called Sequence, each Sequence is like a complete project, and multiple projects can exist simultaneously in Edition (Without the need to load and save separate project files), that means that multiple Sequence/Projects could exit simultaneously. This feature is like God sent for the serial industry, where all the episodes exist within the same Sequence/Projects, and any selected media within a Sequence/Projects can be combined with any other Sequence in just few clicks.

Also apart from multiple Sequence/Projects, Edition also supports Nesting, within the same Sequence by using the Container feature, one can also create multiple Containers and all the Containers can be collapsed (disbanded) or one can enter, edit and exit it without disturbing other clips or Containers.

All these complex procedures are seamlessly handled by the powerful media management capabilities, which lies at the heart of Edition.

Once the clips are on the timeline, it can be trimmed in several ways.

Edition supports 3-Point edit as well as a dedicated Slip and Slide feature with direct timeline edit across multiple layers. Also featured are such high-end routines like Match Frame, Extend to Edit, Move/Copy Range with complete Track sync Lock and Auto Dissolve and Auto Fade-In and Fade-Out for both overlapping audio and video.

One of the most handy feature is the “Item Link” command which can be used to link various media and sync lock them, so that when any one of the Item is moved the rest follows, for example, if you have created a multi-layer effect, which includes Bluescreen keys, supers, titles, PIP’s, along with music, voiceovers and many other effects thrown in spawning into multiple layers, then all the clips on various layers could be linked and locked so that if anyone of them are moved the rest follows, thus they remain in full sync always.

Editions Timeline is very intuitive and supports full drag and drop feature, but what really makes Edition editing features very powerful is that all the trim and edit features can be mapped to the Keyboard layout of your favorite NLE with complete JKL Shuttle controls. This makes editors migrating from other Edit suites a zippy; and due to this excellent feature my fingers had no trouble speeding through my project with my favorite Avid layout without any beginners hiccups. These extremely powerful and professional features makes Edition the favorite choice for fast and quick turnaround projects. Its speedy edits could be a lifesaver in a field where deadlines matter and are a regular hazard.  

Boasting such Extensive Trimming features Edition is also fully geared for highly Effect laden projects, It Boots a full-blown Effect/Filter/Transition Editors where any effects could be created from scratch apart from many ready to use presets.

In fact with its advanced 2D, 3D, Color, Keying, Filtering and Wipes Editor any believable effects could be created quickly without leaving the edition timeline.

Its native 3D Editor supports full range of effects like camera with true 3d depth (Z axis) with lights placement, to shadow/borders, Trails, Rotation for flythrough’s, PIP’s, and engines such as page turn with curl/roll/direction/rotation, highlight, and transparency along with shear – which distorts the object in two dimensions; and all the above features are fully Key-Framable.

Another interesting and highly useful feature is the Difference Keyer as well as a full blown Blue/Green and Luma Keyer, with advanced YUV as well as RGB Spill suppression and luma and croma range with  luma threshold and cutoff along with Luminance graph and the Key Mask (with a Lasso tool) which can be used to select an area to be Keyed or Excluded, also all Key types could be deactivated so that Transparency or a mask could be drawn and used along with softness.

Another handy but powerful feature provided out of the box is the Linear Time Warp feature which supports motion detection through which one can create topnotch slow/fast motion, fit to fill, reverse playback, freeze, strobe like effects with trails etc.

For those who are effect crazy, Edition comes bundled with HollywoodFX which has enough Effects to satisfy any known Effect industry and so Editors will Find HollywoodFX more then enough, and the best thing is that it is built and integrated right into the software.

To top all this; Edition also seamlessly supports all Adobe’s Premiere plugin architecture, that means any plugin written for premiere should work flawlessly in Edition.

Edition Audio capabilities are not just professional but very Extensive and powerful.

It boasts true multitrack audio editor, with automated faders/with solo, mute as well as volume and pan controls, where audio streams can be routed to and through a fully mappable mixing bus.

A full Bell Q Parametrics EQ can be applied to all audio tracks along with true reverb echo chamber FX.

All audio tracks simultaneously display waveform, with Volume/Pan lines (Rubber-banding) which are fully keyframable

Also one of the most interesting and sought after feature is the Global Modification of Volume and Pan, which allows one to increase or decrease, that is set the maximum/minimum values to the volume/pan level of one or several clips where each KeyFrame is modified by the Indicated Value, for example, setting a 12 db top Buffer sets the peaks of the Volume/Pan lines to a technically admissible maximum value and the curves get jolted at these places.
Another Interesting feature is the Add Dissolve function, which automates the insertion of audio Cross Faded and Dissolves.

In Edition up to eight tracks can be Mixed live by activating the Audio Mix Automation function, which one starts by marking the in and out point. One can repeat the procedure until the selected mix is perfect.

Another feature often talked about is the Voice-Over function.

The Voice-Over adds live and controlled audio recording right into the timeline. With this feature, one records voice-overs directly “on to the Image/clip” which is then inserted on the timeline synchronized with the Image/clip.
For a controlled recording, one marks the inpoint, (on the timeline) where one wants the voice-over to start and an outpoint where one wants the voice-over to end thus providing a hands and hassle free operation, also one can control the incoming signal through the fader with a live feed from the level meters for guaranteed perfect take every session.

Once one is finished with the edit session, Edition provides some very powerful and advanced but very practical feature for Power-users, one of them is the- Consolidate function, which once evoked copies the media data required by clips (individually or in a Sequence), thus permitting those that are no longer needed to be deleted. Once a Sequence has been completed one can, for example, discard the surplus raw materials in order to create more space on the storage media. Consolidate can also be applied to individual clips. One can also have the option of storing the consolidated clips in a Rack. Another function used in conjunction with Consolidate is the Condense function which generates copies of clips but associated Media Files are not copied This function is used, for example, to generate the inventory of a Sequence. It allows you to view exactly what material and what length of material was used - a useful function if you need to create a music list or archive footage list.

And if there is nothing further to do and you and the Clint is satisfied with the audio/video edit, the project can then be exported back to the tape instantly.

Edition supports insert edit, so that one can precisely export the edit session back to the tape at the precise marked in/out point on the tape. Also a handy feature is the strip tape function that formats the tape and also can be used to add a specific leader/colorbars as header and a black tail frames.  

If required, one can also Import/Export or Print the sequence as an EDL (GVG, Sony, CMX)

Also a special Multilayer EDL can be exported for later batch digitizing and precise reconstruction of the timeline when required.

Edition also Imports Avid Media Log files which can be then used within edition for Batch Digitizing.
Infact being able to import all the basic EDL lists, it can Batch Digitize and edit EDL exported from any known NLE, like Premiere, Edit, FCP etc.

With Edition one can also Export/Burn the complete or the selected (marked) sequence to DVD directly to the DVD media or export (MPEG2 IBP) for final DVD mastering in Pinnacle Impression, which comes bundled along with a very powerful and high quality MPEG2 encoder.

These are only some of the powerful features that Edition boasts.

Features unique to Edition

EditionDV500 supports a number of realtime features such as transitions, filters etc

But the most remarkable and unique to edition is its Background Rendering, Xsend and Instant save feature.
With the Background rendering waiting for long rendering sessions are a matter of past. Now even the most complex multilayer effects gets rendered in the background, while you tweak and trim subsequent frames, and even before your Edit session is over, all the clips are already rendered and your Final Broadcast copy is ready to exported to tape.

Also Background rendering has no effect on the ongoing edit session and does not disturb or interrupt your workflow by slowing the edit session down or causing it to be sluggish. In fact with processor speed increasing day by day, most of the rendering would occur in near real time and in near future hardware based real-time dependence would be obsolete and instead of using costly hardware all processing will be handled only by the onboard CPU thus completely eliminating the need for a separate dedicated hardware for real-time effects. In fact Edition is built ground up and is fully optimized just for this. This makes Edition future proof, and one only need to upgrade ones CPU to incorporate more and more real-time features.

For those who cannot afford the latest Pentium’s and Athlon Cpu’s Edition provides different modes for rendering, at highest quality everything is rendered with sub-pixel accuracy. Effects which do not demand sub-pixel-rendering can be configured to be rendered at a lower quality, or for some effects antialiasing could be bypassed (like some fast 3D transition) doing so for some effects work’s faster then real-time. Also interestingly all filters and effects can be individually configured, thus optimizing the rendering engine to individual taste and speed.

I have installed Edition on my old P3 500mhz desktop with 128mb ram and even on this slow machine rendering was lightening fast and Edition showed no signs of slowing down.

Although frankly speaking, for me the extensive real-time effects provided by DV500 hardware were more than enough.

But the real stealer among all is the Instant Save function; Edition automatically saves the timeline as you go on editing, Now Imagine an horrible scenario where your UPS blows up, or your system suddenly crashes, no problem, start Edition and behold, the project is just where you had left it, every thing is intact and right where it should be.

Instant Save could be a lifesaver at times, and this makes the Save command as well as constantly pressing Ctrl+S Keyboard shortcut obsolete and redundant.

Another incredible feature is the Xsend function.  

You can select a precise length of a clip by providing the in and out points and then export it to any Avi compatible application by using Xsend. Once activated, Edition seamlessly exports the marked clip to the respective application workspace to be worked upon. One can also use Fuse-Sequence, or a selection complete with Fx applied to AfterEffects or any other compositing application. In my case I needed to stabilize some shake on the handheld footage, so I selected the clip and Xsent it to Commotion, and Edition automatically started Commotion and I found the clip neatly placed within its work-environment ready to be stabilized.

All this worked so seamlessly, that one really marveled at the media management capability of Edition.    

Editing in Edition is fun, not because it is so fancy and has such exotic features, but because this thing is so fast that I logged/edited/exported sixteen 1 hour tapes in just four shifts, But then I am a slow editor by standard and take my own time as I go, other seasoned editors could have done the same thing few hours less.

But what impressed me most was its rock solid stability, not once did Edition crash in the whole edit session except when I used Xsend, it froze my timeline for few sec, then brought up Commotion, But then I guess my timeline was so huge around 1hour 40 minutes and Edition had by then so spoilt me with this ultra fast workflow, that even a few sec of delay looked to me like a long wait.

Also I guess running simultaneous application of 512 mb of ram is asking for too much.