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FCP-X for documentaries (with details)
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[J.Patrick Southern] ” used Neat Video on nearly every single one of our archival clips.
“I really liked this program’s ability to clean things up but did it slow things down for you Patrick?
It really worked my nerves when I worked with it.In my doc I cut in 10 min sections and when I was almost done I strung all sections together (108 min)
That’s when it really got challenging for my older Mac.
Did you guys work in sections in the timeline or just string it all together from the start?
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[Shane Ross] “How would one deal with replacing temp stock footage with window code (a source reel say 20 min in length) when you get master footage with matching code, but in 5-10 second chunks? Is there any way to replace that other than over-cutting like we do in every other NLE?”
I’m curious of that strategy, too. X does have a nice way to tie things like website info to a clip in the timeline index. But actual replacing of media is tough. You pretty much have to overcut the offline clip with the online clip., since you are usually dealing with different formats, lengths and timecode. And for me, X has possibly the worst replace command of any NLE.
[Shane Ross] “Not the “all tapeless” workflow, that I pretty much never ever see. Even in the reality shows I now cut, that are ALL shot tapeless, we still have stock footage that we integrate, still have tape masters because, yup, all the stuff I cut is still DOC based, and that means historical sources”
Yep. Tapes. No way to deal with that very well in X. Pretty much have to capture externally and then deal with it as files in X.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Having recently worked in resolve, I discovered that with v12 they have removed easing for position. However going from X to resolve preserves all moves perfectly. And now, right down to the lack of ease in/out.
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[Aindreas Gallagher] “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 line is a keeper…
Mitch Ives
Insight Productions Corp.“Criticism may not be agreeable, but it is necessary. It fulfills the same function as pain in the human body. It calls attention to an unhealthy state of things.” – Winston Churchill
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[Bill Davis] “Hit me with the top few aspects of Premiere Pro that have changed edit workflow for you in the last 3 years.”
Pancakeing timelines is one way in which way they positively changed workflow for lots of people.
They were also the first to have edit anything, in any timeline natively which explicitly helped file based workflows.
Just two off the top of my head.
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Not being able to tab between timelines or pancake is a big loss I feel.
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[Shane Ross] “1) If you spend months keywording and organizing media, it’s easy to sift through and find what you are looking for.”
I think this may be a little overstated Shane.
The way I did it was to organize in the finder first. I like to find elements outside of the program anyway.
Let’s say photos, I would put all of Denise’s photos into a folder called just that. Ray’s Photos and so on.
I would import the folders into X and it would tag everything for me.
I found that I didn’t really need to go through and label every photo individually. It wasn’t necessary.
Even though I had thousands of elements I was never looking through more than 20 or so at a time.
You can get as detailed as you want to but I found that I didn’t have to do that.I have never worked on anything so big and I have never found things faster.
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[Tony West] “I think this may be a little overstated Shane.”
Approaches/needs vary by project but for OJ doc in question I don’t think it’s an overstatement. Even in the article, Patrick mentioned that the team initially underestimated the amount of keywords/organization they would need.
For an historical doc I’d say the minimum info is who, what, when, where, temp/master, rights holder and original file name/tracking number from vender.
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[Neil Goodman] “They were also the first to have edit anything, in any timeline natively which explicitly helped file based workflows.”
I think (then) Sonic Founry’s Vegas might deserve that title. It was the first NLE that I know of, which could natively play any audio, video or image format on the timeline that was supported by Windows.
Shawn
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That’s the way I remember it. In fact, that’s the primary reason we bought into Vegas back in… oh, 2002 I think when it was still with Sonic Foundry before Sony bought it. For broadcast work we were using IMC InCite (anybody remember THAT program?), but we started having to do a lot of quick-turnaround web-bound projects where the sources were all over the map in terms of file format, resolution, frame rate, etc. As I recall, Vegas was the only NLE at the time that would take pretty much anything we threw at it without any additional fuss, and I liked elements that came from its DAW pedigree to boot.
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