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10.2.3 Update is here
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[Oliver Peters] “A clapstick is still the most accurate, with common timecode coming in second.”
Ironically, a pretty high-profile pilot I was working on in L.A. a while back used jam-synched TC multicams with dual audio. More than 20 hrs. of footage. For some reason though, the audio had a latency problem of some sort, which led to a 2-3 frame offset. Parts were edited on an Avid (v6 I believe) and I was doing the rest on FCP X. The Avid guy was apparently pretty much screwed, since all he could use was TC for syncing. So whilst he was figuring out some sort of weird workaround (for literally a couple of days packed with phone calls), I was happily editing along with my waveform-based sync. 🙂 So, either way, I certainly prefer it.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Robin S. Kurz] ” Parts were edited on an Avid (v6 I believe) and I was doing the rest on FCP X. The Avid guy was apparently pretty much screwed, since all he could use was TC for syncing. “
The Avid guy didn’t know what he was going then. He could have manually synced, or figured out the offset and set up an auxiliary timecode column with the offset and used that to sync. He was screwed because he didn’t know what he was doing – not because of the software.
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Michael Hancock
Editor -
[Michael Hancock] “He could have manually synced”
Obviously, yes. Only with that amount of material that wasn’t an option for him. Why? Best decision? No idea. He thought it was. And yes, IIRC the aux track ended up being the solution. Only that didn’t spare him the massive amount of manual shifting around of bins and what not, nor the need for pre-rendering/transcoding the entire footage first, bin by bin, because the Avid (MP with Nitris, NextStor RAID and what not else) couldn’t play the 2K Cinefrom material anywhere near realtime either… as opposed to me with FCP (though I ultimately did do most in Proxy, after it had finished automatically transcoding over night).
All I know is that he was anything but inexperienced (10 something years at Paramount) and didn’t edit so much as one frame for almost three days.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Robin S. Kurz] “Only that didn’t spare him the massive amount of manual shifting around of bins and what not, nor the need for pre-rendering/transcoding the entire footage first, bin by bin, because the Avid (MP with Nitris, NextStor RAID and what not else) couldn’t play the 2K Cinefrom material anywhere near realtime either… as opposed to me with FCP (though I ultimately did do most in Proxy, after it had finished automatically transcoding over night).”
Well to be fair, he was using software from 2011 that wasn’t written to handle material like that. If he was running a newer version of Avid he would have had better performance and could have use the background transcoding and probably been working from day one.
If he had to go bin by bin to transcode then it’s a workflow issue. He very easily could have dropped everything into one bin and set it to transcode overnight (like FCPX generating proxy files). Was this editor used to working with assistants that handled this type of stuff and didn’t have them on this job? 10 years of editing doesn’t mean he’s well versed on the technical stuff, especially if he’s more of a story editor.
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Michael Hancock
Editor -
[Michael Hancock] ” Was this editor used to working with assistants that handled this type of stuff and didn’t have them on this job? 10 years of editing doesn’t mean he’s well versed on the technical stuff, especially if he’s more of a story editor.”
I was going to ask the same question. 10yrs of editing doesn’t prepare you to fix technical problems if you are used to having AEs do all the tech stuff so you can focus on editing. It’s like going out in the morning and your car not starting. Just because you’ve been a licensed driver for 20 or 30yrs doesn’t mean you have the skill set to trouble shoot and fix the problem.
The TC syncing situation being discussed is pretty much syncing 101 for any AE out there (especially those working in the unscripted world) and should’ve have turned into a problem at all.
With that being said, syncing by waveform (when it works) is fantastic and I’m glad Avid finally added that feature in the new version of MC.
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[Michael Hancock] “10 years of editing doesn’t mean he’s well versed on the technical stuff, especially if he’s more of a story editor.”
Tell me about it!!!!!!
We recently worked on a movie where the editor was a really serious, incredibly talented Hollywood superstar with years and years of experience with some truly jaw-dropping credits to his name – who in this case was doing a favour for the wife of a very famous director and hence was working pretty much on his own, and having to be his own assistant.
Lovely guy and everything, but his lack of basic AVID knowledge was a real eye-opener, to say the least.
Those plucky assistants acting invisibly in the background make life so easy for the big guys – it’s only when they’re not around that you see how important they are.
Simon Ubsdell
tokyo-uk.com
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