Lightworks NLE and QScan have new owners.

I am looking to move off FCPX because we are moving off MAC's to Windows PC's (for many reasons)

Would Lightworks be a good option?

We are evaluating Resolve at the moment but it is not intuitive at all. .
 
Lightworks isn't like FCPX, there are tracks for a start, but it can be operated in a number of different ways and has a clean looking interface. It's worth having a play with the free version, however, be open about getting used to it. The problems usually arise when users try to use it exactly the same as their old NLE.

It has the option of two interfaces, a fixed one and the flexible layout for those that feel confined by the fixed layout
 
As a Lightworks user who switched from Premiere with the release of the first V10 version when it came out I have found it to be by far the most efficient lightweight professional pure NLE there is. Never looked back. It can run well on relatively modest hardware, unlike Resolve.
I still use Resolve for its original purpose: raw footage processing, color grading, and preparing digital intermediate masters for editing, but I don’t like the all in one approach of the newest version. It is a bloated inefficient resource hog.
Most don’t know that Lightworks is the second oldest NLE, started as a dedicated hardware based NLE system about the same time as AVID. But where Avid was designed for television editing, Lightworks was designed specifically for feature film editing. The basic UI features and work flow was designed by film editors, not programmers.
If you have ever cut film on a flatbed editor with a bin of clips hanging on hooks next to you, it will probably seem very intuitive quickly. For me coming from a 16mm film editing background it just clicked. In the classic flexible layout I can work the way I think rather than how a traditional video NLE based on linear tape assembly broadcast paradigms dictates.
 
Razz16mm said:
If you have ever cut film on a flatbed editor with a bin of clips hanging on hooks next to you, it will probably seem very intuitive quickly. For me coming from a 16mm film editing background it just clicked. In the classic flexible layout I can work the way I think rather than how a traditional video NLE based on linear tape assembly broadcast paradigms dictates.
Click to expand...

No, I am one of the millions who started with digital video and online delivery a decade ago. The only wet film I had any dealings with was in 35mm still cameras but not in the last 20+ years. I did do some audiotape editing but that was over 30 years ago. My first proper NLE was FCPX. I get the feeling that the majority have never done the "traditional" editing which may explain FCPX's popularity everywhere except LA. That said we need a non-apple solution.
 
There are (or maybe were) some lingo differences, but the basics of marking points and inserting into a timeline are still present in LightWorks. It is in many ways easier and faster than other editors, but I haven't worked with it in a decade. Get a controller, even an Xkeys, program it so it works for you, and get working. I really liked the trim functions in LW when I was using it, it just made sense to me.

Don't forget they have a free version so you won't need to take anyone's word, just register, download, and try it.
 
Razz16mm said:
As a Lightworks user who switched from Premiere with the release of the first V10 version when it came out I have found it to be by far the most efficient lightweight professional pure NLE there is. Never looked back. It can run well on relatively modest hardware, unlike Resolve.
I still use Resolve for its original purpose: raw footage processing, color grading, and preparing digital intermediate masters for editing, but I don’t like the all in one approach of the newest version. It is a bloated inefficient resource hog.
Most don’t know that Lightworks is the second oldest NLE, started as a dedicated hardware based NLE system about the same time as AVID. But where Avid was designed for television editing, Lightworks was designed specifically for feature film editing. The basic UI features and work flow was designed by film editors, not programmers.
If you have ever cut film on a flatbed editor with a bin of clips hanging on hooks next to you, it will probably seem very intuitive quickly. For me coming from a 16mm film editing background it just clicked. In the classic flexible layout I can work the way I think rather than how a traditional video NLE based on linear tape assembly broadcast paradigms dictates.
Click to expand...

Thanks for the info. My early days were analog editing but moved to Premiere in the late 90s and have been using since. However I refuse to move past CS6 onto the rental model so I will eventually have to move to something else and have been considering different options
 
Thank you for reminding me about Lightworks, and I'm glad to hear that some of you still like it. I was thinking about my options since I prefer Linux. It's nice to see it has both DEB and RPM packages. I had thought that Lightworks only had a subscription, but I see you can buy it "outright", for 437.99 (license comparison).

I have heard a million times that the interface takes some getting used to but is better once you get used to it. I glanced at some screenshots and don't see anything shocking. But I did read that it has two layouts, a locked-together version and a free-floating windows layout. I think I like the locked-together version, since it reminds me of Final Cut Pro, Avid, and the other NLEs I've used.
 
Amongst other NLE's, Premiere, Vegas, Avid, currently Resolve, Vegas and Edius I've been a user of Edius since v2.0. If you are thinking of making the move to Windows and want a totally seamless NLE with some very powerful and fast features and rock solid performance, especialy with current Intel and Nvidia GPU's take the time to test the trial of Edius X which was released yesterday the 15th. I will be upgrading to it 100%. Edius drops right into the traditional paradigm of non-linear editing. If you are used to Premiere, Vegas, FCP Pro (not X) you will not have a hard time coming to grips with it. Edius is probably the most rounded editor I've used. It's 99% codec agnostic. Will handle BOTH Blackmagic RAW and ProRes RAW seamlessly. There is far too much to outline on Edius X in a post but seriously check out the MOST UNDERATTED NLE out there. Below is an overview of Edius X and a couple of examples of how easy it is to accomplish certain workflows. Over 30,000 seats in broadcast and 100,000 seats in production houses and with independent editors... and it's still a secret unknow for many out there. Give it a try, costs nothing to check it out.

Chris Young


 
The next Lightworks release is due out in November. I suspect this will be the beta, since Lightworks usually has a long beta testing program with lots of input from users. Sometimes a suggestion will be added in the same day to the next build by the developers.

A film editor friend reminded me that a psychologist was involved in the original Lightworks design, so that the functions could be carried out with minimum number of inputs. Some of the strange terms in Lightworks like "mark and park" come from this process. This saves you from needing to mark "in" and "out" points when editing.

Another article on the sale: https://www.provideocoalition.com/editshare-sells-lightworks-and-qscan-to-lwks-software/
 
Last edited:
briandrys1 said:
Lightworks isn't like FCPX, there are tracks for a start, but it can be operated in a number of different ways and has a clean looking interface. It's worth having a play with the free version, however, be open about getting used to it. The problems usually arise when users try to use it exactly the same as their old NLE.

It has the option of two interfaces, a fixed one and the flexible layout for those that feel confined by the fixed layout
Click to expand...

I could never get into Lightworks, but I have a friend who swears by it...
 
Yes, that happens, NLEs are personal things. Many new users tend to find the fixed layout easier to get into because it's closer to how other NLE interfaces look like and has workflow tabs, which are handy for smaller screens. It also suits the short form projects they're editing.
 
It's the node workflow that gets most people who try and leave, but Resolve is node based as well so i you get Resolve, you can probably get Lightworks.

That said, Resolve gives you more. Buy it and (so far) you get all the updates to new major versions where Lightworks you would be locked into that major version. In the end, I bought Resolve and hopefully it will upgrade for many years to come. But in the past I had also bought Lightworks and did like it when I was using it.
 
briandrys1 said:
Yes, that happens, NLEs are personal things. Many new users tend to find the fixed layout easier to get into because it's closer to how other NLE interfaces look like and has workflow tabs, which are handy for smaller screens. It also suits the short form projects they're editing.
Click to expand...

The other thing is a LOT has changed. I have noticed there seems to be a big difference between those who came from the traditional film world (Ie LA & London ) and those who are modern professionals from outside that bubble. I recall a decade ago with FCPX and a lot of professionals deriding it as iMovie+ yet it now has over 2 million (paying) users if few, it must be said, in LA. With BMD Resolve when they added a direct upload to one YouTube account and one Vimeo account a lot of "professionals" were incensed at this but many more queried only ONE log in...

So times and workflows are changing. For myself the only film I have handled was 35mm still film 20 years ago (other than for archive digitising the stills) all my movie work has been digital. That said most of my work is journalism and documentary.
 
Most Lightworks users probably are uploading their productions up to YouTube or Vimeo, they're not making feature films. Also many gamers editing their game videos, so there is a good range in there.

My understanding is that they intent for Lightworks to be an increasingly more powerful editor that can easily interface/interchange with more specialist programs, rather than trying to do everything itself to the highest levels and becoming bloated along the way. Having said that, I gather, there are improvements to the effects in the next new release. Currently, it manages to run on surprisingly low powered computers.

The Lightworks major versions seem to last about 3 years with new builds of these coming out roughly every year. Currently an upgrade for the outright license costs roughly the same as the one year subscription.
 
combatentropy said:
Thank you for reminding me about Lightworks, and I'm glad to hear that some of you still like it. I was thinking about my options since I prefer Linux. It's nice to see it has both DEB and RPM packages. I had thought that Lightworks only had a subscription, but I see you can buy it "outright", for 437.99 (license comparison).

I have heard a million times that the interface takes some getting used to but is better once you get used to it. I glanced at some screenshots and don't see anything shocking. But I did read that it has two layouts, a locked-together version and a free-floating windows layout. I think I like the locked-together version, since it reminds me of Final Cut Pro, Avid, and the other NLEs I've used.
Click to expand...

The licensing model is very flexible. They have free, monthly, annual, and outright purchase options. The only limitation of the free version is export options are restricted to maximum 720p H.264 MP4 only. It requires periodic updating and is limited to the latest release version only.

Annual license covers all upgrades for a year including major version changes plus full professional export options.

Outright purchase covers all upgrades between major version changes. Major version upgrade costs the same as an annual license. Major version releases average 3 year cycles

The monthly license is of interest to intermittent or casual users. You can edit projects on the free version and buy a monthly license for pro version export options. When it expires the program reverts back to free version limitations. No need to pay a month by month subscription. License changes do not require reinstalling the
program.

Pro licensees have the option of participating in Beta version upgrades and testing. Beta versions include bug fixes as well as incremental introduction of new features. Beta version cycles range from weeks to months.

Multiple versions of the program can be installed on a single system if they are installed in different directories. All project data and media are maintained independently of the software installations.
 
Last edited:
briandrys1 said:
Most Lightworks users probably are uploading their productions up to YouTube or Vimeo, they're not making feature films. Also many gamers editing their game videos, so there is a good range in there.

My understanding is that they intent for Lightworks to be an increasingly more powerful editor that can easily interface/interchange with more specialist programs, rather than trying to do everything itself to the highest levels and becoming bloated along the way. Having said that, I gather, there are improvements to the effects in the next new release. Currently, it manages to run on surprisingly low powered computers.

The Lightworks major versions seem to last about 3 years with new builds of these coming out roughly every year. Currently an upgrade for the outright license costs roughly the same as the one year subscription.
Click to expand...

This is pretty much true of any NLE. Lightworks is in wider use outside the US for long form narrative or documentary features as well as TV series. Every feature film that Martin Scorsese has made in partnership with Thelma Schoonmaker's team as editors has been done on Lightworks.

In fact long form narrative or documentary work is where this program really shines. Media management, logging, metadata tagging and multi-level organization of mass amounts of footage without the need to render or copy media except for backup or delivery exports is a major advantage.

This is a major difference with other NLE's. In Lightworks classic flexible layout it is possible to create bins of subclips and auto assemble those into rough cut sequences. One can organize clips and bins by any criteria that is of meaning to the editor, so one can quickly assemble rough cuts of the same scene with any shot order or selection of takes in seconds.
One can work at this level based on story elements rather than being concerned about the mechanical process of editing. The same scene could be assembled chronologically, or based on particular themes, or critical character or story arcs, or actor's interactions, all in a matter minutes or hours, not days.
 
Razz16mm said:
As a Lightworks user who switched from Premiere with the release of the first V10 version when it came out I have found it to be by far the most efficient lightweight professional pure NLE there is. Never looked back. It can run well on relatively modest hardware, unlike Resolve.
I still use Resolve for its original purpose: raw footage processing, color grading, and preparing digital intermediate masters for editing, but I don’t like the all in one approach of the newest version. It is a bloated inefficient resource hog.
Most don’t know that Lightworks is the second oldest NLE, started as a dedicated hardware based NLE system about the same time as AVID. But where Avid was designed for television editing, Lightworks was designed specifically for feature film editing. The basic UI features and work flow was designed by film editors, not programmers.
If you have ever cut film on a flatbed editor with a bin of clips hanging on hooks next to you, it will probably seem very intuitive quickly. For me coming from a 16mm film editing background it just clicked. In the classic flexible layout I can work the way I think rather than how a traditional video NLE based on linear tape assembly broadcast paradigms dictates.
Click to expand...

I miss the old resolve in some ways. It feels cluttered and bloated with editing, audio, and FX features that I'm not sure are all that good. I like having the options to tweak edits and sound etc, but I do miss the more "colour" centric design.

I'd rather see more focus on improving the colour grading features rather than all the extra stuff.
 
James0b57 said:
I miss the old resolve in some ways. It feels cluttered and bloated with editing, audio, and FX features that I'm not sure are all that good. I like having the options to tweak edits and sound etc, but I do miss the more "colour" centric design.

I'd rather see more focus on improving the colour grading features rather than all the extra stuff.
Click to expand...

Me too. I still use it for raw processing, color grading, and creating DI masters for editing (Cineform for me). With the Bolex everything is double system sound anyway, so I don't even bother with audio. I'm working on a short introduction to the Lightworks classic interface for novices. It is a very different way of working than any other NLE.

Imagine as a first time user opening your first project and this is what you see!

LWKS-flexible-screen.jpg
 
Last edited:
You must log in or register to reply here.
Back
Top