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An editor learns to love X
Interesting article on one editors late embrace of FCPX. I am not clear on how to link it direcly into the forum.
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20 Replies
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Great article. Thanks for posting!
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Great article! Got a couple docs in the pipeline and will reference this article and it’s links when the time comes. Thanks for sharing.
Not bad for a “non-editor”, eh? 😉
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
[Scott Witthaus] “Not bad for a “non-editor”, eh? ;-)”
Not bad at all!
Interestingly, there’s a 30 for 30 called “June 17, 1994” about the day that OJ was supposed to turn himself in, but gave chase in the white Bronco instead. It covers the OJ fiasco, but also covers some other big sports events that were happening that day. That doc was also done in style that the Challenger documentary might be emulating, in that there’s no VO script or set interviews, just sound bytes of footage and TV commentators. It’s an awesome style, and I can’t wait to check out the Challenger doc.
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We still had to use FCP 7, mainly because I’m the online guy they always use, and I didn’t know FCX at ALL so I wasn’t comfortable finishing with it…short turn around. That will be solved next time, possibly by just finishing everything in Resolve.
But it was interesting that we used FCP 7 to capture our tapes. This was an archival show…STRICTLY archival. A lot of sources were digital (although some places still consider WMV as high quality archive) but a large chunk was tape, so we used FCP 7 to capture for FCX. We could have used the AJA capture tool, but it didn’t offer a BATCH CAPTURE option, which we rely on.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Hi Shane!
When you mention batch capture could you clarify? Were you having 7 machine control hardware decks? And if so, was it beyond one loaded tape at a time? Or were you guys just setting ins and outs and capturing targeted time code ranges capture off the tapes? Just trying to better understand the workflow holes that X still has.
Thanks.
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I think you’re right…I think on this one we did just capture full tapes, because it was NASA footage and we needed to return the tapes, so we wanted to get all that we could because it was public domain. So yeah, for this project we captured full tapes.
The last project I did for the company was on the A-BOMB testing in Nevada. IN that one we logged and captured only bits from tapes. So I got my wires crossed on what we did for what project.
Still, that’s the only gripe I really have. But since a good chunk of my work is historical docs that capture from old tapes, I have that particular need quite often. The need to log and capture chunks, and if somehow the drive dies or media goes offline, the ability to re-capture that footage easily. Yes, I know, a very specific need, but still a need.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
And I’m not trying to bad-mouth FCX in general. People love it and it does it’s job well. People use it for broadcast work and the broadcast work comes out fine. I’m just a little miffed at that ONE thing about it, the ability to capture from tape via a capture card. That’s it.
I do find it interesting that many places I go still uses FCP 7 as a go-between tool for many things.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
For me, the last part…
“In all, it was an incredibly smooth workflow that enabled us to edit quickly, using all the advantages FCPX brings with keywords and organization, the ability to skim through dozens of hours of footage in thumbnail view and sort through hundreds of photos in a visual way. However unprofessional FCPX was deemed in the beginning, I can’t help but feel I’m kind of a poster child for how today, it can be a revelation in non-linear editing. I was able to pick it up very quickly and before long my brain was thinking about editing in a completely new way.
More and more I’ve been able to concentrate on storytelling, without worrying about pesky things like tracks or what bin a particular clip is in.”
… says it all. Spot on. Mainly because it reflects pretty much exactly what I and 99% of the people I know that actually LEARNED X have said many times over.
– RK
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I looked at your blog. Wow, it has a lot of information. Next up trying to find the blog article on the atomic bomb story edit that you mentioned.
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There is no blog story about that A-BOMB doc I worked on. It was a straightforward edit/online. Oh, they DID want us to deliver 1080, but have it 4K ready. Because all the interviews and current day b-Roll were shot 4K. Even though a majority of the footage was old stock footage. Some was SD, some was film scanned at 1080. Cut on Avid, onlined with Symphony/Resolve. Nothing spectacular.
Shane
Little Frog Post
Read my blog, Little Frog in High Def
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