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FCPX is Ready for prime time
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[Chris Harlan] “I hate to be the bearer of bad news, but:
“OK, here you go. Both AVOID and PPro can’t “satisfy” my now required “deliverable” of a NLE that leaves your work connected to an on-line output file so I don’t have to waste endless time doing “work-arounds” in order to refresh a public copy of a newly produced video directly from the NLE ”
https://forums.creativecow.net/readpost/335/57447
I can’t see how that’s a typo, but I’ll grant that that might be a Freudian slip.”
Why do I suddenly feel like a politician?
OK, I’m exposed. Busted. Found out.
Out of my couple of thoustand posts – I guess I once posted what is obviously a snarky response (See the lead line there…: “OK, here you go.) to someone baiting me. And I guess that must forever define who I am.
Remember that thread title: 10 great Premier Pro CC tips for FCP 7 Refugees?
Maybe I need to sit down and write “Amazing FCP-X timesavers built into software you can OWN for angry Creative Cloud Refugees.” and post it in the Adobe Forums. I’m sure nobody would push back even a little at that.
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(BTY, using your reference I looked back at the post that generated my piqué.
IT was a lovely little personal snipe at me by Herb. To wit:
[Bill Davis] ” It’s admittedly a difficult time. Just less so for the editors who find it easier to change direction if they so choose.”The idea that X is supported by the daring adventurous few is but one of the many myths you keep repeating to make yourself feel important.
Herb Sevush
Zebra Productions
____So I think meeting a bit personal attack snark with a tablespoon of countering snark is a huge sin.
You know you could also have gone back to count the other hundred times I’ve referenced AVID or Adobe with fairness and respect? – nope, too difficult? OK then.
Next time I PROMISE (with caps) to add some kind of “snark alert tag” to anything I write like this when in a heated discussion to protect myself from your personal blowback.
Would never (ever) want to imply that folks in this forum would go cherry picking quotes to try to diminished someone’s views. Cuz that would be…like – well. Something.
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.
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Now Bill, you know I’m basically cool with you having called Avid AVOID, right? You just did an all caps NEVER and I happened to remember the exception. It was a setup that I could just not resist.
Frankly, I’ve quite enjoyed some of your discussions lately.
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[Bill Davis] “Then I have to take issue with what I see in your own posted photos.
Neither space, and particularly the one in the second photo – strikes me as set up for anything even remotely suitable for constant colaboration with “directors, writers, producers, et al.” “You’ve never seen a feature film cutting room, then. They are almost all like this. Don’t equate a cutting room with an edit suite in a standard post facility. Most are ad hoc rooms set up in a rented office somewhere.
For grins, take a look at the image on this page:
https://digitalfilms.wordpress.com/2011/08/27/a-moment-to-pause/
That’s a room I’ve cut several films in. That’s me collaborating with the director, writer/lead actor and line producer. Real comfy 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Sorry Oliver – didn’t mean to sound like I was slamming Avid – it wasn’t meant that way, I was just thinking about how good CC is and how much I’m enjoying cutting with it and why I would use anything else… unless something better comes along… which might happen this week?
Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1 -
I’m digging it too.
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Lance,
Oh, I didn’t take it that way it all! I read it more as tied to your recent frustrations with X.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
But Oliver, that is exactly what I expect a colaborative edit suite to look like. Somewhat larger (dedicated post house) or smaller (News style) space.
The editor in front, editing. and a place behind for the producer or other collaborators to spread out documents and make/take phone calls and contribute. Exactly the “collaborative style editing suite type I’ve been working in since I started as the narrator/voice talent of a local TV shows more than 25 years ago.
Sorry, but Walters workspace is NOT all that typical of where true collaborative editing happens, to my eye. His space is more a wonderfully scaled up version of the tiny “producer/editor/shooter” bays in TV stations where one person is expected to do it all.
With his skill set, obviously he doesn’t need anyone “directing” his efforts as an editor, and I’m sure the execs and others drop by to confer as required, But I didn’t see the “director/producer” bridge seen in your pic or in most high level edit suites I’ve worked in during my career.
Whether or not that says anything about shifts away from the old school “strictly collaborative” model to the currentlyfashionable “preditor” model where we’re increasingly asked to multi-task on our projects, I’ll leave for others to figure out.
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.
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[Michael Phillips] “There tends to be a belief that feature editors just have simple timelines – what Oliver has shown is pretty average – I have seen less and more complex. The timelines on Lord of the Rings were just crazy. And from an organization perspective, I have mentioned on other forums, “Alice in Wonderland 3D” had over 5000 bins in the one shared project.
Many features are screened in process, and I have seen NRG screenings done directly out of an Avid timeline. The amount of previz, correction, etc. is getting more and more dense, not to mention the multiples in storage being shot with digital compared to tape and film. “
This where I think FCPX helps. If you look at Oliver’s screen grabs of Murch’s timeline (and I have been lambasted over this opinion a few years ago when Oliver kindly posted these before) many of those tracks are duplicitous.
The stems, the stereo audio, SFX, anything that has multiple channels of audio gets collapsed down to one object. If you need to explode it, you can, if you need to hide a channel, you can, but that doesn’t mean you have to see it on the timeline. Granted, FCPX isn’t perfect on the visual organizational part of this, but they are working on it.
Same for the Star Trek grab. All of that could get condensed if you want it to. FCPX does need color labeling, no doubt about that.
My point is, FCPX does simplify some of those complexities. It’s not perfect and needs more work, but as far as controlling large amounts of data in a fell swoop, FCPX seems to be purpose built for it.
Jeremy
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[Jeremy Garchow] “The stems, the stereo audio, SFX, anything that has multiple channels of audio gets collapsed down to one object. If you need to explode it, you can, if you need to hide a channel, you can, but that doesn’t mean you have to see it on the timeline. Granted, FCPX isn’t perfect on the visual organizational part of this, but they are working on it.
Same for the Star Trek grab. All of that could get condensed if you want it to. FCPX does need color labeling, no doubt about that.
My point is, FCPX does simplify some of those complexities. It’s not perfect and needs more work, but as far as controlling large amounts of data in a fell swoop, FCPX seems to be purpose built for it.
“I agree with a lot of that, and being able to collapse it would be terrific. The problem is consistency–the ability to instantly find, among the SFX, the three tracks of foley, as opposed to the other five tracks of SFX, as opposed to the dialog tracks, as opposed to the temp music score, etc. If I know that all foley is on track 18-24, throughout the cut, than I can find it immediately, anywhere, anytime. Color-coding would probably be enough for me, as I usually work with 18-24 audio tracks, and only five major categories which sometimes gets extended to eight. Would it be enough for a major film? I don’t know, but my guess is that it would be too confining.
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You can label audio components with a title.
ALso, if you take the time to add Roles to the Audio Components, you can have a Role to select them all (or highlight them all).
Currently, this is a bit tricky in FCPX, but it can be done, and hopefully, will get better.
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