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Codex – more color tools
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[Andrew Kimery] “What advantages do you see w/using X instead?”
A lot of tasks fall under the broad umbrella of DIT or someone assigned to a similar role within the crew. So it’s hard to apply a one-size-fits-all answer. If the needs are purely prepping clips for post, then Resolve is likely still the best choice. However, if a quick turnaround trial edit is needed, then X would be the better choice, because of editing speed.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “However, if a quick turnaround trial edit is needed, then X would be the better choice, because of editing speed.”
Also, possibly, as more and more crews improve metadata collection during the shooting phase, it makes sense to look at whats happening with tools like Lumberjack et al, to capture scene, take, and keyword metadata at the same time the cameras are rolling.
Having an active NLE system running on set should allow better field metadata collection and proofing – and used smartly, assistants for the director, DP and LD, scripty, sound and other departments could conceivably be logging notes on tablets and or smart phones during a shoot – and feeding all that metadata into a cohesive central collection system.
Maybe that’s just the data wrangler on a small shoot just doing overall notes for the gig – but on a big shoot, the departments could be generating their own data and feeding it all into an on-set portable server in real time.
Time is still money and the idea that at the end of a shooting day – all of everyone’s notes could be centralized and coordinated could conceivably not only save a TON of time – but increase data integrity and security for the whole production.
I suspect on-set data wrangling will change a ton over the coming few years.
Just dreaming out loud.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “Having an active NLE system running on set should allow better field metadata collection and proofing – and used smartly, assistants for the director, DP and LD, scripty, sound and other departments could conceivably be logging notes on tablets and or smart phones during a shoot – and feeding all that metadata into a cohesive central collection system.”
Well… Speaking as the editor, I typically ignore all of that. I prefer my own organizational methods. When I work on scripted shows (like a feature film, where script notes are common), I’m often way ahead of that stuff by the time I actually receive it from set. So yes, time is money, but sometimes it’s better to spend that money in post and give the editors adequate time, rather than have a bloated crew that slows down production.
I realize I opined that this might be intended for DIT use. However – and no offense to anyone doing DIT work – I’d rather see as little of that work done on set as possible. Picking color correction and doing edits on set are often “nice to haves” that don’t really contribute anything to the final product. (Films like “Baby Driver” are the exception, because on-set editorial was essential to that film.)
When I’ve worked with experienced directors who know what they want and how to achieve it, they aren’t dependent on a video village and all that support mechanism that has grown up around so much production these days. The number one priority of the on-set support crew, whether you call them a DIT, a data wrangler, or whatever, is to properly get the data from the camera cards onto secure and backed up drives to be sent to editorial. That task alone is often hard enough.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “The number one priority of the on-set support crew, whether you call them a DIT, a data wrangler, or whatever, is to properly get the data from the camera cards onto secure and backed up drives to be sent to editorial. That task alone is often hard enough.”
I agree completely. As little energy as possible should be spent on set collecting metadata. I too ignore all of that in the edit. As long as I’m receiving all of the media correctly I can then very efficiently bring it in and organize it amazingly fast through string outs and making use of pancake editing.
I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles -
I can’t find the thread about it, but didn’t Light Iron come out with a custom solution a few years ago to help streamline the process of creating and organizing on set metadata and getting it to post? Individual preferences aside, I assume they saw a niche that needed to be filled and created a new product/service accordingly.
I know Bill’s example was for the scripted world, but in unscripted quality field notes are worth their weight in gold once post rolls around.
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[Oliver Peters] “Well… Speaking as the editor, I typically ignore all of that. I prefer my own organizational methods.”
In your and my time, that’s how it typically went.
The editor did ALL the organization “by hand.”
I just suspect that the kids coming up will be accustomed to utilizing all the generated metadata their files will carry into the edit by default, even if we weren’t as much used to that process.
Time will tell.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “I just suspect that the kids coming up will be accustomed to utilizing all the generated metadata their files will carry into the edit by default, even if we weren’t as much used to that process.”
Not on this planet.
– Oliver
Oliver Peters – oliverpeters.com
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I think it also depends largely on the materials your working on.
If your shooting most of your own stuff and tagging the metadata yourself, and have a relaxed turnaround schedule I can see how that would be helpful in the edit.
In my world, you really only have time to start watching footage right away and making selects. Not much organizing other than “DIALOUGUE & VISUALS” and MAYBE i might do separate reels or keywords for the different types of Visuals (scope, action, etc.) Last year I was doing lots of co brand commercials for ESPN and there was no extra metadata attached to the footage other than the normal stuff like codec and resolution. If I was lucky Id have storyboards and usually very poor script notes. These are multi million dollar shoots with lots of eyeballs and sometimes movie tie ins and still no metadata in sight.
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[Neil Goodman] “These are multi million dollar shoots with lots of eyeballs and sometimes movie tie ins and still no metadata in sight.”
Which is a really sad.
I know on the shoots where I’ve had the luxury of Lumberjack and especially if I’ve been able to make my own notes during a shoot on my iPhone – the time I can spend in creative decision making – verses pure organization – really shifts.
In a string of 10 takes – my on-set decision that “Take 8 was DEFINITELY the circle take” means I can vastly reduce all the time sink of messing around looking at and judging the other 9. Only if 8 somehow fails late in the game – do I have to do ANY assessment of the other 9.
Huge time win.
And ALL you have to do is hold your phone in your hand during the shoot. Have three lumberjack “ratings” tags preset as Bad/OK/HERO
Use OK for the start and stop of EVERY take. (which in X lets you REJECTS everything else but usable takes. Pop in a short Bad tag after stinkers – And pop in a short tag at “HERO” directly after the Winner.In post, the take before the HERO tag is ALL you have to initially look at. Everything else gets added to the reject bucket.
That alone can save you beaucoup time in post.
Metadata field tagging doesn’t have to be either comprehensive or perfect to be HUGELY useful. It just has to be used with understanding.
My 2 cents.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “In a string of 10 takes – my on-set decision that “Take 8 was DEFINITELY the circle take” means I can vastly reduce all the time sink of messing around looking at and judging the other 9. Only if 8 somehow fails late in the game – do I have to do ANY assessment of the other 9.”
In most projects, that’s a method that almost never really pans out when you get into edit. There are very few projects that I’ve ever edited that only used the hero take.
– Oliver
Oliver Peters – oliverpeters.com
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