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Emmy award winning editor at NBC blogs about FCPX
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[Mike Fernanandes] “I get it but also I’m not dismissing it. I was saying what works for me. I didn’t say forget protools and how dare you color correct anything.”
It doesn’t have to be that extreme. You said you don’t understand how that’s an issue. That’s as dismissive as you need to be.
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While FCP X’s color board is no Color, it’s so far ahead of FCP 7’s color tools. The lack of color wheels is odd, but I find the board intuitive in other ways. It was obviously a contraption to save space in the interface, and it does do that. Seems like so much of what they’re doing is to save space. Except the timeline! I need the timeline on it’s on monitor. Not the event or viewer!
And the new scopes are just amazing. Sure would be nice to see more that one at a time.
Considering Color is eol’d, any point that you can’t roundtrip to color somewhat moot. But you can roundtrip in much better fashion to Resolve. And it’s free (for 1080p lite version).
I don’t send to pro tools much, but I do occasionally send a project out for sweeten or mix if there’s a budget. That said, I’m liking audio mixing in X so much better than legacy. It seems that some really need the audio tool in their workflow. If so they won’t be happy. But I rarely used the tool in any sort of “live” fashion. I didn’t record keyframes. The times I did, I found myself having to go back and clean up. I used to to live mix clips, but I found myself always confused as to what track a clip was on. Now, I just adjust the volume of the clip right in the track while it’s playing. I can even MOVE a clip while it’s playing. I can even ADD KEYFRAMES while it’s playing. I can add a RANGE and lower the volume of that area while it’s playing, eithe by hand, or by keyboard shortcuts. I can see the waveforms of each track adjust as I make changes. So, no, I don’t have a little window with audio sliders and all the pretty meters going. What I have instead is direct, in the timeline live manipulation of volume and filters and even placement. I can see the waveform of a whole track adjust and see any problem areas without listening to every second of a track and watching every little meter. To me, it’s much more organic.
And aren’t they planning some sort of multitrack audio tools? Seems like it’ll be one of the better NLE audio systems if they add a mixer interface and make anyone happy.
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AMEN brother. See this is what I was trying to get at. Instead of harping over what it doesn’t have, spend some time with it and you’ll be impressed.
loudyeti.com
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[Bret Williams] “Now, I just adjust the volume of the clip right in the track while it’s playing. I can even MOVE a clip while it’s playing. I can even ADD KEYFRAMES while it’s playing. I can add a RANGE and lower the volume of that area while it’s playing, eithe by hand, or by keyboard shortcuts. I can see the waveforms of each track adjust as I make changes. So, no, I don’t have a little window with audio sliders and all the pretty meters going. What I have instead is direct, in the timeline live manipulation of volume and filters “
I could have written this myself Bret
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What do you do when it’s more than 4 cameras?
I shrink the scale down to 33% and adjust accordingly.What do you do when it’s an entire show?
The content we’ve produced has never been a full 30min program with multi-cam the entire 30minutes we produce live shows as well but again those are switched. but if it were I’d probably do it the same way.I understand that this type of cutting suits your limited needs
( really.. is that constructive in anyway? )for multi cam but why encourage your employees NOT to learn something that might prove useful?
I show people every way and every possible thing you can do. People I’ve hired have moved on to other shows with in the company and they continue to not use multi-cam and that’s 100% on there accord. I’ll poll them for you if you’d like.So lets disparage something you’ve never used while in the middle of an article complaining about people who disparage something (FCPX) they never use.
I have used it. I’ve attempted to use it in X as well. In cutting this episode I started with multi-cam and then recut it with just synced clips ( the video layers stacked ) I prefer just having them stacked. And as you said it’s not as accurate to use so why use it?But let me suggest something to you. If your going to do it stone age style ( again insults not constructive )
set up your repo layers the way you do but then export it as a file. Now take that “quad split” file and lay it on the highest track, on top of your repo video. Now delete all the repo attributes so that the underlying tracks are full size. Now blade away to your hearts delight, covering over the quad split with whatever angle you like. This way you always have the quad split reference no matter what you do later and you don’t have to constantly undo and redo the repo settings.
Right here- THIS IS AWESOME. I’ve never thought about exporting a clip and having it play as a master. If i ever run into a larger multi cam situation and my machine is having a hard time maintaing playback rates that will for sure be a huge time saver and easier on the machine. For this sir I thank you.
loudyeti.com
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For the Record I didn’t post this on this forum so the title of the article isn’t up to me.
It’s not about the brand. If any other company came up with this system I’d still want to use it.
AVID is tried and true right… been used for ever
Adobe is basically what FInal Cut 7 ( i mean in theory not actually I’m aware of it’s differences )X is a different mind set. You have to think about how you cut very differently. And I felt that if a major NLE was going to go this route it would be dumb of me not to learn it enough to be comfortable.
Think of it this way. 3 years down the road. Smaller houses looking to save money might be using it. Networks might adopt it. Maybe one day a feature film wants in. And that job comes across your table for a project you really want to do but their rigs are all X. Isn’t it better to know how to use it than to say “it’s not for pros’ and miss out on opportunities.
It’s not about making it work regardless of limitations its about being able to work anywhere and on anything. And that in my opinion is the definition of a professional.
loudyeti.com
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Hear that sound?
drip…drip…drip…
Could that be water seeping through small cracks in the dam.
A year ago it was “it’s impossible to use this professionally.”
A few months later we heard that ABC was doing some limited use on the big sports games.
A few months later it was “well, Leverage is going to switch to it.”
Now we learn from a first hand source that NBC is going to be using it for a network show.drip…drip…drip…
Do you really think that someone or something is going to run in and patch this dam or divert the river?
Who, precisely? Apple keeps improving and expanding it… and so how’s it gonna go backwards and get less capable, exactly?
(increasintly faster)
drip…drip…drip…drip…drip…Honestly, this is not intended to piss anyone off, tho I expect, sadly, this it will do precisely that. But if I’ve learned anything here, It’s how to face and shrug off certain types of criticism. So setup your fireworks and start your launch sequences – nothing says “celebration” more than endless speeches – punctuated by loud sparkly noise! ; )
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Mike Fernanandes] “I understand that this type of cutting suits your limited needs
( really.. is that constructive in anyway? ) “You are being overly defenisve here. I wasn’t being facetious I was being descriptive. From my point of view you have limited multi-cam needs – no long form, no 9 camera, etc. I was simply saying that since you don’t cut multi-cam on a regular basis and in complex ways then I understand how it might not be worth the trouble to learn the multi-cam feature.
[Mike Fernanandes] “I show people every way and every possible thing you can do. “
Then how am I supposed to understand this quote from your article:
“I drop them all in a timeline shrink each down 50% and pull out the blade tool. It might not seem right or the easiest way to do it but I like it. I even tell all my new employees to edit this way.”[Mike Fernanandes] “And as you said it’s not as accurate to use so why use it?”
I don’t know what this refers to, whats not as accurate and when did I say it?
[Mike Fernanandes] “But let me suggest something to you. If your going to do it stone age style ( again insults not constructive ) “
Thin skinned again. I was going to describe it as “primitive” but thought that was too negative. How about “anti-deluvian,” You are editing in a style I used 20 years ago when there were no better options. There are now better options. You can choose not to use them and still do great work. When I was cutting film I worked with editors who only used uprights, wouldn’t use a flatbed on a bet. Some of them did great work that way. They were absolutely stone age, but it worked for them.
[Mike Fernanandes] “Right here- THIS IS AWESOME. I’ve never thought about exporting a clip and having it play as a master.”
The standard procedure for cutting multicam pre NLE was to record a quad split of the field cameras, using one of those boxes used by apt. building security departments. I’d rough cut the show with those and then cover them over with the master shots once the cuts were tight – this is the same deal. It’s the way I cut on FCP before they had the multi-cam feature, and trust me I was not happy about having to use it after working with a real multicam feature for the few years before.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
YES!!! Bill you might be my favorite person in the world right now. If your ever in NYC lunch is on me.
loudyeti.com
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[Mike Fernanandes] “YES!!! Bill you might be my favorite person in the world right now. If your ever in NYC lunch is on me.
loudyeti.com”
Better than that, if you come to NAB next year, Walter S and I will invite you to the “secret i don’t HATE FCP-X meeting where you can speak freely and everyone smiles and is polite regardless of what you say, be it praise or critique of X.”
It makes for a really GREAT 3 hours or so.
Take care. ; )
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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