FCPWorks sessions from NAB posted.

[Aindreas Gallagher]

Chris Fenwick live periscoped Steve Martin working the new mask and colour qualifiers on FCPX – it was fun to watch, plus fenwick can compère dandy – they have one up over adobe masking there as native attributes. two up if I heard natural b-splines right.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Noah Kadner]

All sessions are up now and a special thanks to Bill for doing all of that amazing editing in record time. We’re incredibly psyched to have all of this Final Cut Pro X content online so soon after NAB 2015 wrapped.

And I also should mention to anyone checking these out sessions, almost every one of them features an FCPWORKS client or integration partner (or both). So, if you like what you see and you want us to do something similar, please get in touch.

Noah

FCPWORKS – FCPX Workflow
Call Box Training

[Aindreas Gallagher]

“recently… I had to spend five hours untangling 30 minutes of D-M&E on avid… it literally would have taken me 10 minutes on X.”

from 13 minutes in – as he moves through the serious capabilities to preference and or mute audio sub roles/channels it’s quite the killer presentation.

https://www.youtube.com/watch?v=hmTsTx7Ux8g&feature=youtu.be&list=PLqX2pQkpLCQ_wo_6BVFnh8BfvVbCAp5wM&t=812

It’s incredibly weird, to a sometime hater, that skateboarder video X’s core calvinist thinking on data and metadata objects sounds most radically impressive inside the highest end co-operative work scenarios. Mike Matzdorf has to be, inarguably, a wicked smart unassuming top of his game mensch. And his irritation at the general inability to see some of the deadly serious game X brings to the table comes off him in waves.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Noah Kadner]

Chris uses Meerkat but who ever split hairs over platform choice…

Noah

FCPWORKS – FCPX Workflow
Call Box Training

[Michael Gissing]

[Aindreas G] “from 13 minutes in – as he moves through the serious capabilities to preference and or mute audio sub roles/channels it’s quite the killer presentation.”

Yes it does explain why traditional NLE track based non organised audio is hell to sort. I would like to see however a proper time and motion study on whether time taken to assign roles compared to managing clips in a track/bus system prior to export is actually any different. What is needed is perspective on whether getting roles sorted in advance is actually any more efficient that getting tracks managed during edit.

For me the missing thing in NLEs is track and bus based processing or for a similar equivalent with Roles. Also 5 hours to sort D-M&E elements into tracks on AVID for a 30 minute film is about five times longer than I would spend on a Fairlight doing the same job from the AVID AAF. It perhaps says something about how NLEs manage temporary grouping of clips and the easy of moving or swapping with clips on other tracks.

At my end of getting AAFs or OMFs from all NLEs, I have yet to see that the editors management of tracks or roles is any less work to me to reorganise the track/bus layout needed for sound edit and mix. I would love to hear a presentation from the sound post team whether the sound hand over was better or made their job any easier from X as apposed to any other NLE. My experience is that there is not really any difference so far. there is potential with Roles to be better but there is also potential for NLEs like Pr & Avid etc to also be better.

[Mathieu Ghekiere]

Hi Michael,

well, some things to think about:

– with an app like Sync”N Link you can have your Roles correctly (even mic per mic) attached to your video footage of a whole day just by exporting an XML, bringing it into Sync’N Link, exporting an XML from there again, and done. Seconds. A couple of clicks. For every mic. The sound guy must have done his job correctly however, tagging his recording on set.

– You can import new footage in a keyword collection. Then select all of them. Hundreds of files. And give them the same Role with one click. (music for instance).

– The most important thing here is, in my opinion, are 2 artistic things. First, you don’t label things anymore with track 1-track 4 for instance. Now it’s DIALOGUE. ADR. Titles. Etcetera. This goes back to CONTENT organisation, and not onto a tracking system that can be random. It’s understandible for anyone to read.
Second, you should do all of this Roles organisation BEFORE you edit. You can even do it afterwards, but I think doing it before gives you much better options. What this means is that you do all this organisation when you are in a ‘organising your edit’ mood. But when you are ready for the creative process… Cutting, removing things, putting them somewhere else, trimming, etcetera,… It all gets out of your way, and you can just go along with that flow. I think this is a very important point.

– Again, with a couple of clicks and an XML, you can have all of these organised in tracks for ProTools. From what I’ve heard (because I don’t have experience with this myself but a lot of people here do) these are often the cleanest AAF’s they have ever gotten.

I do hope Apple extends timeline features with Roles (color coding, grouping, a Roles-based mixer) like everyone does. But I like the concept of Roles a lot more than tracks.

[Oliver Peters]

The only thing to bear in mind with the “10 min” comment is that this only works if you’ve already spent the time to designate roles and subroles after media is imported or by going through your sequence clip by clip. Neither of which is inconsequential in time. It also doesn’t account for the actual export time of a full movie if the export is V&A instead of only audio. In any case the comparison would be true of every track-based system. If you look at some of the samples of Walter Murch’s FCP timelines, he groups dialogue, SFX and music into specific track ranges for exactly that reason.

Of course, exporting stems from a raw timeline is a rather unusual situation for a film – unless this is to send for a temp mix or if the entire mix is being done in the NLE, which isn’t the norm. Generally the stems come back from the mixer out of ProTools and the editor lines them back up against picture. In that scenario, exporting from X or a track-based system would be about the same.

Note: in the presentation, it wasn’t clear to me whether Mike was talking about organizing tracks into DME groups to send on to the mixer or whether he was talking about exporting a final version with DME stems.

Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Oliver Peters]

“The sound guy must have done his job correctly however, tagging his recording on set. “

And there lies the rub. It also requires common TC. That is also unfortuantely often skipped for many reasons.

Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Bill Davis]

I will just note two things.

A) timecode is not necessary at all if you opt for the state of the art Lumberjack/lumberyard system that works on time of day and could care less about anything being jam sync’d.

And B) the massive time savings (a growing real world theme!) was echoed by other professionals in the suite. Watch the DirecTV (last presentation) for an even stronger validation than Mikes.

You can try to come up with all the ” it can’t be THAT much better” rationalizations you like, but serious people in very professional situations are starting to report precisely that. It IS a much better workflow – and one that produces bundles of time savings and workflow efficiency.

The whole point of the risky X reinvention was ALWAYS about re-architecting it into a smarter, better NLE. You may not like it, understand it, or simply prefer its approach – and that’s fine. But a lot of voices are clearly telling you that used the way it’s designed, it can be a wicked fast – effort saving – drudgery automating – very powerful editing tool.

FWIW

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]

[Bill Davis] “A) timecode is not necessary at all if you opt for the state of the art Lumberjack/lumberyard system that works on time of day and could care less about anything being jam sync’d.”

Lumberjack isn’t really applicable to a scripted production, from what I can tell. Is it? I’m not sure. How does TOD have anything to do with audio and 1 or more cameras that are generally not running TOD? I’m not quite sure how that would work. Typically it’s not accurate enough for sound sync even when they are running TOD. For scripted productions and double-system sound, the only reliable sync other than TC is a good old fashioned clapstick (or an equivalent).

[Bill Davis] “And B) the massive time savings (a growing real world theme!) was echoed by other professionals in the suite. Watch the DirecTV (last presentation) for an even stronger validation than Mikes.”

I wasn’t saying that X doesn’t save you time, however, extreme examples are often mentioned without taking everything into account. Mike’s comment was based on the presumption of the proper use of roles. That does take time and yes, if the location audio team did their job, there can be a huge efficiency thanks to the automation of some processes. I’ve used Sync-N-Link X with success, so I can easily see a savings there. Unfortunately editors are generally at the receiving end when the crew decides to take some short cuts or forgets a cable to sync camera and sound recorder.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com