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Feature Film Editing Protocol
Hey,
I was wondering if anyone who has cut a feature on FCP could give me some pointers/tips/advice on proper editorial protocol (ie. what codec should to down-convert to? what is the proper way to label clips? how to make the jump to the online edit?)
Starting this fall I’ll be assistant editor on a small indy feature that will be shot HD 24p and cut on FCP 5. We will be getting an X-Serve next month to hook up to the G5. This will be my first experience posting a movie, so I’m not really sure what needs to be done in preparation. The editor is a dyed-in-the-wool AVID user and has some misgivings about using FCP. So, my goal is to make her transition from AVID to FCP as smooth and painless as possible.
Any suggestions or comments would be appreciated.
Thanks,
Brent -
6 Replies
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that’s as much operating style as it is protocol. Much will be dictated by your boss’s previous experience and demands for maintaining a workflow that no longer applies. The hardest part is likely to be learning Apple’s new terminology. It won’t help her to complain that Avid’s way is better. No one using an FCP system really cares (What’s an Avid?) and that’s tough for a long-time Avid expert to deal with: Change.
Invest in two books today, spend your own money if you must, but you might be able to find used copies at Powells or Amazon.
“Behind the Seen” Murch edits “Cold Mountain” on FCP
“FCP for Avid Editors” a reasonable attempt to justify Apple’s way of doing things. A good cross reference along the lines of “If Avid says THIS then FCP says THAT.”
Others will have better advice for you soon. Welcome to the family. You’re going to love FCP, you’re going to hate FCP. You get over both of these feelings soon.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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And another thing, there are dozens (hundreds) of ex-Avid suers here and on the apple.com FCP forums. Be sure to check them all out and lurk for a few weeks. Also lafcpug.org.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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But you’ve worked in FCP before, correct?
As fas as codecs, you’ll need to do some tests to find the best image quality vs. disk space solution. You might want to consider DVCPRO HD if you can afford the room (it’ll look great). Apple also offers some Offline RT HD codecs which are fine. You want to stay in these HD codecs if possible to make the online easier. Otherwise I would edit in DV at 24fps. . . (this does present some technical issues you have to be on top of)
As far as protocol, it’s not much different than doing a :30 spot. I prefer to log and digitize sets of takes (scene 204, takes 1-7…. scene 204A takes 1-5, etc….) and then either use markers or create timelines of just that scene will all the fat taken out. These things ultimately depend on the editor, so you should ask. Even AVID people have different approaches when there is so much media to be organized, and ways they like to keep track of hero takes, etc…
Also, just like in AVID, I recommend cutting the film in chunks of 15-20 minutes. It keeps navigation of the timeline simple, and in FCP 4.5 the longer the timeline gets, the slower the box got.
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How is your sound being recorded, and how are you going to finish? This will determine a lot about how you will work.
For clip naming, use a naming scheme that will allow the clips to sort properly. If you have 100 scenes, then I would zero fill the scene numbers, 047 rather than 47. If you have at least 10 takes on some shots, I would zero fill the take, 047-01A for example. A little extra work, but it makes things easy to search for when the names are consistent.
Show your editor how to trim in the timeline. There is a trim mode in Final Cut, but it’s not the same as Avid, and I usually trim in the timeline.
What is your monitoring set-up? It’s good to see things on a broadcast monitor.
I’d capture each take separately. It’s more work, but it pays off if you have to manipulate specific clips or do any effects shots, and the available footage is apparent when split into each separate take.
Write down every thing that you do as an assistant, in detail. Then if you find you made a mistake, you can go back and figure out where the problem occurred.
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The Film Editing Room Handbook by Norman Hollyn will give you a good perspective of what a feature editor expect from is assistant and the latest edition includes Avid workflow. Survival guide would probably a better name for this book.
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Thanks for all the great responses.
Yes, I have been working with FCP for about 3 years, but since I’m self-taught and work on small time projects, I’ve never actually had the opportunity or need to learn the protocol of a professional edit session.
As far as I know we will be shooting HD at 24p and downconverting using the Everts box straight to a hard-drive. As far as I know the Everts doesn’t downconvert to the DVCPro HD format. I should check to see if it will downconvert to one of the Apple Offline HD codecs. I guess a lot of my concern stem from the Everts box since I’ve never used one and don’t know the workflow.
Next month we will be getting either a Huge System or an Apple X-Serve Raid.
Should we keep the entire project, from start to finish, at 24p, to avoid any pulldown issues?
Thanks again for all the great tips and suggestions.
Brent
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