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FCP 10.1.2 Where are you?
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[Franz Bieberkopf] “Chris,
I’d be interested to hear the how and why if you have general principles about using one or the other.
Also, would a simple mode toggle work in theory?
Franz.
“Hey Franz!
In general, its something like this. I like using the clip mixer to edit dialog. I find it more effective to slice words and syllables and adjust the volume of the clip. I’ll also use this on individual sfx, especially if I have a few clumped together.
I then tend to use the track editor for music and mix, especially with subs. Say I have four tracks of sfx. At a clip level I will mix them relative to each other, and then use track level to mix subs of dialog, VO, sfx and music. I tend to begin the edit at clip level and finish at track level, but at each step there is some crossover
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“They wanted to put a product in their ads for their new camera that they think nobody wants to use?
They don’t believe in X, but they decided to just stick that product in their ad?”Or maybe it’s written into their contract with Apple. Or maybe they have a co-op advertising arrangement. They have a long corporate arrangement on many levels with Apple. That’s most likely the reason it shows up in the ad and in other instances of their website, brochures and collateral material across numerous products. There’s a natural tie-in. Apple promotes 4K editing. The camera shoots 4K.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Chris Harlan] ” I tend to begin the edit at clip level and finish at track level, but at each step there is some crossover.”
Chris,
How much volume graphing are you doing with the track mixer (it sounds like you do more with the clip mixer) – and don’t you find it problematic if there are edit changes and you’ve got automation written to tracks?
Franz.
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[Oliver Peters] ” Apple promotes 4K editing. The camera shoots 4K.”
Exactly, sounds like X will work just fine with their new camera and maybe they think it will also, regardless of any agreement they may have. Maybe they think others will to.
All I know is, if I’m another NLE, I would have liked to have seen my product in that ad.
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[tony west] “Exactly, sounds like X will work just fine with their new camera and maybe they think it will also, regardless of any agreement they may have. Maybe they think others will to.”
Of course, it will work fine with the camera. Why wouldn’t it? You are dealing with 4K ProRes, not raw or another codec. After all, they are using an Apple-licensed codec and recording hardware co-developed with Apple. If it were a matter of the user numbers, they’d show Premiere Pro in the screen grab.
My point is merely that there are reasons you see the X interface on the laptop, because of things that have little to do with the specific attributes of the NLE. Rather, it has everything to do with synergistic corporate relationships and not promoting the competition (such as if a Resolve UI had been shown).
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
companies pay big money to be included in films and advertising.
A company doesnt advertise or do P.r. unless it needs too.
Apples sexy high end market has been shrinking and they need to counter that thus the cion ad.Ricardo Marty
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Maybe it’s just me but it’s hard to fathom Apple getting into this kind of relationship with a third party. The only thing I can think of is that AJA got some kind of deal on ProRes licensing in return for this “consideration” in their product marketing.
I’m not sure that people purchasing in the AJA “price range/market” are influenced by what NLE they see in a product shot.
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[Franz Bieberkopf] “[Chris Harlan] ” I tend to begin the edit at clip level and finish at track level, but at each step there is some crossover.”
Chris,
How much volume graphing are you doing with the track mixer (it sounds like you do more with the clip mixer) – and don’t you find it problematic if there are edit changes and you’ve got automation written to tracks?
Franz”
I don’t do volume graphing. My work is short and precise, with a lot of minuscule dialog edits that require hand-coddling–cutting sub-clauses out of sentences, gabbing pronouns from other parts of the production, combing two sentences that appear twenty minutes apart into one shorter, more meaningful expression. Though I’m always tempted to automate, I find that it gets in the way more than not, and, from years of practice, I’m relatively fast–I don’t need to think as much about what I’m doing.
As to the automation for the later arena–that mostly happens after Studio or network approval, so there aren’t a billion changes, if any.
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[Craig Seeman] “The only thing I can think of is that AJA got some kind of deal on ProRes licensing in return for this “consideration” in their product marketing”
If you look at their historical marketing, Mac-specific products like IO and KONA were always shown with FCP “legacy” screen grabs.
[Craig Seeman] “I’m not sure that people purchasing in the AJA “price range/market” are influenced by what NLE they see in a product shot.”
Yes and no. One of the big things people buying cameras are concerned about is workflow. One of the reasons that ARRI has been successful with ALEXA – even though one could argue for more resolution with RED – is that ARRI paid attention to post workflow as part of their marketing campaign.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Chris Harlan] ” I’m relatively fast–I don’t need to think as much about what I’m doing.”
Chris,
Good to see you in the forum.
Franz.
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