Activity › Forums › Creative Community Conversations › FCP 7 used on PARASITE
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Brett Sherman
January 16, 2020 at 9:57 pmI think this post is rather tongue-in-cheek, but the notion of what software is used for Oscar-nominated films is a rather silly to me.
As complicated as the artistry of film editing is, it is a somewhat limited technical software toolset that is needed to do it. Yes, massive amounts of organization. But do they need sophisticated color correction? Nope, someone else does that. Full-featured audio? Again, someone else. Fancy title templates? Un-uh, someone else. Work with crappy footage someone shot on their iPhone? They wouldn’t think of it. Pulling a clips out of multiple project spanning the last 8 years? Nope, movies are self-contained. Turnaround in 4 hours? Ha!
Maybe Lightwave is better designed for this type of editing. But chances are it’s a pretty poor choice for what I need to do.
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Oliver Peters
January 17, 2020 at 1:05 am[Brett Sherman] “but the notion of what software is used for Oscar-nominated films is a rather silly to me.”
It’s like anything else – it’s aspirational marketing. Following the tools of certain filmmakers is the same as the current trend of YouTube influencers and companies find that to be important. It does generate sales even though that might be minor in the grand scheme of things.
[Brett Sherman] “Maybe Lightwave is better designed for this type of editing. But chances are it’s a pretty poor choice for what I need to do.”
It’s Lightworks, not Lightwave. If you check out their current version, its pretty full-featured, so it might actually be a good choice. Hard to say without really trying it of course.
Granted, the appeal is probably small here, because it has tracks ☺
[Brett Sherman] “But do they need sophisticated color correction? Nope, someone else does that. Full-featured audio?”
Actually this is important. At the top level there are larger teams, but many editors doing features have the need to rough in effects, correction, and sound mixes for screening versions. Drop a level down to smaller films and many of the festival entries and in that world you often have to generate the final product out of the NLE – no rough edges.
– Oliver
Oliver Peters – oliverpeters.com
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Shane Ross
January 17, 2020 at 1:35 am[Brett Sherman] “Work with crappy footage someone shot on their iPhone? They wouldn’t think of it.”
No. We just have to work with directors who wants to shoot 35mm, 16mm, Super 8mm, and some hand cranked 16mm Mitchell camera that Bob Richardson has in his arsenal. OH, and then throw in new footage shot on HD video and then some of that crappy 4K iPhone footage, and about 15 GoPROs.
[Brett Sherman] “I think this post is rather tongue-in-cheek, but the notion of what software is used for Oscar-nominated films is a rather silly to me.”
Yes, and that was the WHOLE point. It’s silly that Avid does this. It’s silly when people go “OH! LOOK! This feature film was cut on FCPX! It’s breaking into the Hollywood system! A FOOT HOLD!!” The film didn’t win because it was cut on X or Y (we all know this), yet Avid PR keeps pushing the “CUT ON AVID!” and people here keep touting “Look FCPX is good enough for Hollywood! It plays with the big boys in features!” “Has anyone seen an article about someone using Resolve to cut a feature?” “Premiere was used on DEADPOOOOOOOOLLL!!”
But it was also to show that my beloved FCP 7, that I devoted all my heart and soul and energy to, still has what it takes to get shit done!
Shane
Little Frog Post
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Shane Ross
January 18, 2020 at 7:33 pmWell, the editor of PARASITE, Jinmo Yang, just won the ACE EDDY award. This often is an indicator of where the Oscar goes.
Yeah, I know it’s NOT the tool. Just interesting that 10 year old, discontinued software is still being used on features, and is helping win awards.
What film cut with FCPX won an ACE Eddy? HMMMMMM!?!?!
(shade throwing continues!)
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Oliver Peters
January 18, 2020 at 7:48 pm[Shane Ross] “(shade throwing continues!)”
You’re enjoying this way too much ☺
– Oliver
Oliver Peters – oliverpeters.com
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Tony West
January 19, 2020 at 12:15 amI would have liked to have seen more about his workflow.
Did he use an old slow computer also or something like an iMac Pro with the old software?
He said that he found 7 “simple” to use. Not better than what’s currently out there, just “simple”
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Oliver Peters
January 19, 2020 at 1:16 amFilms like this are generally not cut with native, full res media on the edit system. Usually lightweight edit files are created beforehand and that’s what you cut with. Then the finishing is handled by the facility doing color correction. Many times the editor never sees or touches the original media. If that’s the workflow, then the age of the software and hardware in less critical. That’s one of the reasons that older Avid systems are still prevalent in Hollywood.
Oliver
Oliver Peters – oliverpeters.com
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Tony West
January 19, 2020 at 12:23 pm[Oliver Peters] “Films like this are generally not cut with native, full res media on the edit system. Usually lightweight edit files are created beforehand and that’s what you cut with. Then the finishing is handled by the facility doing color correction. “
Thanks Oliver, but I already know he used proxies, the article covered that. This article isn’t about CC it’s about VFX and I want to know if he did all those VFX on an old computer or a new one. Not what other people do, what did “He” do.
I’m just curious.
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Oliver Peters
January 19, 2020 at 3:00 pmI get that. Throughout the article he refers to using After Effects for the pre-visualization of VFX and then presenting that to the VFX house for reference. It doesn’t sound like any finished effects were done on the edit system. If that’s the case, any newish Mac would do just fine – for instance old Mac Pro towers.
– Oliver
Oliver Peters – oliverpeters.com
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Nick Meyers
January 25, 2020 at 1:56 pm[Tony West] “I want to know if he did all those VFX on an old computer or a new one. Not what other people do, what did “He” do.”
in all likelihood “he” didn’t do the temp VFX, but rather handed them over to an assistant.
Im still cutting features on FCP7.
i do a lot of temp FX in the timeline, but they are always very simple ones: splits, or dropping in the odd gfx element.
if I’m too overloaded, or the fx too demanding, i’ll hand it over to my assistant.
On the most recent film they used mainly Premiere (he knew it well, and to answer your question, he used his fairly recent MacBook Pro) and sometimes Resolve.
oh yes – if i needed a decent slo-mo, i’d hand that over as well. Classic FCP’s is about the worst around ☺nick
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