-
FCP-X for documentaries (with details)
-
yarp. I’m using Ppro for a bit in town on mood films lately. It’s just an utterly savage system to be used in anger? Client attended even. On two monitors with hover scrub bins, effect controls and an audio mixer set up on the left monitor it’s pretty much thor’s hammer. pancaking timelines FTW.
I’m ultimately glad Apple went where they did – because adobe probably wouldn’t have gone anywhere near this far otherwise. It’s a monstrous system.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
“It’s a monstrous system.”
Yep.
I guess on the upside, those with a taste for tentacles get to shivver with delight as the monster quietly probes your money pool – monthly – for the entire the rest of your career – and oh yes, enjoy the skimmer.
oops… I meant to write “hover scrub.”
; )
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
-
[Oliver Peters] “Any idea what machines they were cutting “
Retina iMac 5Ks from what I know.
[Oliver Peters] “with and formats used, aside from Sharestation?”
4K from Red, some 4K from a Sony FS7, and “many different B CAMS such as digital SLRs.” And then of course all that SD stock footage…I think the deposition was S-VHS.
[Andrew Kimery] “Shane, surprised you haven’t thought about at least kicking the tires on X on some side work.”
Well, NOW I am. A project the same editor and another producer are doing is being cut on FCX, and I’ve onlined for them for years…looks like I need to dip into it, as well as Resolve. But no, side work I’ve always relied on Adobe Premiere Pro CS6….it did what I needed, and still FCP 7 as that was what clients used. Most of my side work is online. FCX wasn’t on my radar for anything until now.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Shane Ross] “4K from Red, some 4K from a Sony FS7, and “many different B CAMS such as digital SLRs.” And then of course all that SD stock footage…I think the deposition was S-VHS.”
If the bulk of this, plus high-res stills, was all native, then no wonder there were slowdowns.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
“But did note lots of slowdowns, and then the workarounds they used to get around those.”
I’d just point out that Patrick, Christy and the others on the Braverman team have been working on the OJ project for many, many months.
IIRC it locked before 10.2 and was cut on excellent hardware like the Lumaforge system – but also while both the hardware and software was in active development.Just like Mike Matzdorff reported after Focus – things where the workflow was ahead of both the development AND the experience of the first time team were sometimes bumpy. But the job got done and afterwards – the players found a lot to like in the system. Not every single thing to be sure. But a lot.
All modern NLEs are works in progress. For many reasons. I still think the basic truth is do you want to hang on to where editing ideas have traditionally been – or do you see value in where those ideas might be going?
Seems to me the big win in the article is centered on X’s agile organization system and how that helped them sort and access a big, very complex array of project elements.
Which sounds to me like where production seems to be going in the “cameras are everywhere” era.
I havent seen the OJ piece, but I suspect that on some of the material they had to mine, there might have been more a few cameras rolling at the time? Just guessing.
And that was 20 tears ago!
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
-
[Bill Davis] “I’d just point out that Patrick, Christy and the others on the Braverman team have been working on the OJ project for many, many months.
IIRC it locked before 10.2 and was cut on excellent hardware like the Lumaforge system – but also while both the hardware and software was in active development. “Don’t make excuses. I’ve worked on a film for over 2 years cut on FCPX versions all before 10.2. Software is always under development. Some things simply work better than others, so it’s worth knowing where those pitfalls are.
[Bill Davis] “Seems to me the big win in the article is centered on X’s agile organization system and how that helped them sort and access a big, very complex array of project elements. “
No one is disputing that.
[Bill Davis] “I havent seen the OJ piece, but I suspect that on some of the material they had to mine, there might have been more a few cameras rolling at the time? Just guessing.”
So?
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
“The Secret Tapes of the O.J. Case” had Optimized media for almost everything. Due to the cost of storage once we got the SHARESTATION, we did not Optimize all 10,000+ clips. We did have a lot of photos and a lot of variation in sources. We also had 4K & 5K footage that we were running across a 1 Gbps Ethernet connection. When we finally rented a 10 Gbps Ethernet to Thunderbolt adapter, it became less of an issue.
Then we used Optical Flow on a lot of our footage that didn’t meet the project’s frame rate and used Neat Video on nearly every single one of our archival clips.
So there was a lot going against us in terms of system efficiency. David and I are now onto another project. Everything has been made into Optimized and Proxy media, we have far fewer clips, and everything seems to be running just fine.
-
I’ll say this Bill: the fcpx skimmer reaction fluidity picks up the adobe hover scrub, bunches it into a ball, and throws it into next week.
Apple have crazy science on the skimmer!
And yes indeed there’s the fact that I’m renting a publishing house, pre-press, web creation and illustration for no reason I understand.
That all makes me more happy every day to rent the stuff I actually use. Because, as designed, at some point, Shantanyu is coming for us all.They built a big cannon ball aimed directly at their prior customers. In a way, they arguably put a gun to my head even. I took out my card in a difficult freelance client situation on site? I had CS6, but they’d hobbled the ability to get back to CS software though the CC management software. It’s boring, but it was super deliberate obfuscation. They made access to CS software downloads oddly difficult. So I bought CC on the spot.
Realistically, adobe are going for ever increasing subscription cash once they feel the numbers are safe. Otherwise why build that gun and place it against the temple of their former customers in the first place? Adobe want all the money and quite soon please.
Classic, classic sociopathic corporation move.Premiere is still pretty great.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
The RED was converted to ProRes…the rest was native, from what I hear.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[J.Patrick Southern] “So there was a lot going against us in terms of system efficiency. David and I are now onto another project. Everything has been made into Optimized and Proxy media, we have far fewer clips, and everything seems to be running just fine.”
Thanks for the clarification. Yep, your media situation definitely would cause issues. Good to hear that X’s offline/online workflow improves these issues.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
Reply to this Discussion! Login or Sign Up