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Feature edited and finished in Resolve 14
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[Scott Witthaus] “What does the cutting of a feature have to do with enhanced color tools? I see no connection. If that were the case, Avid would have beefed up Symphony all these years.”
Was just thinking the exact same.
Probably owed in part to the fact that an editor is expected to be jack-of-all-trades more and more and more. Which, for me, goes along the same lines of “I can work any and every NLE!“, just that it’s “I can do it ALL… edit, color, sound mix, motion graphics yadda yadda!“. In both cases I can only think “Yeah… master of none.”
Apparently the thinking goes, that just because they can, they think they actually can. ???? Which is why everyone is always screaming to have more and more and more within a single app, since the majority seems to believe that their skills and abilities somehow magically grow parallel to that of their software. Painful to watch sometimes.
I say we petition for colorist and sound-mixer appreciation days. ????
– RK
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[Oliver Peters] “In Apple’s case, if you give the customer good enough color correction, then maybe they’ll opt to stay in X, simply because of the loyalty to X.”
For me, it’s simply a HUGE boon when it comes to collaboration or just simply moving from one seat to another. You have every and all essential tools built in, therefore no more, or at least far less exclamation marks in your timeline on the other end. And I think it’s safe to say, that there will be an update to the XML to reflect all the new parameters, which I’m sure Resolve will in turn update to support, too. So if you DO still need to go there for more specialty work (e.g. tracked power windows etc.), then you won’t lose what you’ve done so far in terms of primaries, if you have. As it has already been.
I’ve had several people come to me for color-corrections, because I had 3rd party plugins (AND because I actually know my way around color), so I could do them within X. Only it was of no use to THEM once they got home, should they just need a quick tweak of sorts. That will finally change! I’m excited.
– RK
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[Oliver Peters] “If you look at why people are interested in using Resolve, color correction is a key factor, because you eliminate the roundtrip. That’s what a number of the interviewees are saying in these customer stories. A lot of features end up going through Resolve at the end. In Apple’s case, if you give the customer good enough color correction, then maybe they’ll opt to stay in X, simply because of the loyalty to X.
“But tell me how this connects to cutting a feature? And wouldn’t you say most features of decent budget go out of the NLE to a colorist for finish?
Scott Witthaus
Owner, 1708 Inc./Editorial
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter -
[Scott Witthaus] “But tell me how this connects to cutting a feature? And wouldn’t you say most features of decent budget go out of the NLE to a colorist for finish?”
What do you consider a decent budget? There are plenty of indie films that are in the $50K-$250K range. There are many more of those than films in the $1M+ range. They are often shot with a mixture of cameras – all shooting some type of low contrast or log. Many don’t have the budget for a colorist or the know how to deal with roundtrips correctly. That’s the market I’m talking about.
Then add to that the shows that need some color adjustments to have a decent image during offline editing. That’s being done by the editor. If they can work in a project format that can be handed off to a colorist and a lot of that info gets translated, you are ahead of the game. Or have a colorist step into the project earlier in the pipeline and establish looks within the editorial project. Again, the all-in-one approach works well for that.
Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “… or the know how to deal with roundtrips correctly.”
Hmm. Not sure that exporting an XML on FCP’s side, then exporting the graded footage and an XML on Resolve’s side, then simply double-clicking the last XML to get it back into FCP is that big of a deal. ????
[Oliver Peters] “Then add to that the shows that need some color adjustments to have a decent image during offline editing.”
How could you not already (and still) get that with just the color board and/or even a free LUT plugin as needed?
But I for one will most certainly be going to Resolve MUCH less with these new tools at my disposal. Not matter the type of project. Whether they (by themselves or even with e.g. SliceX or Chromatic for tracking) are enough for EVERY project has yet to be seen. But I’d be fine with 99%. ☺
Whether it really has all that much to do so explicitly with FEATURE work I doubt as well. I think it’s plain and simple a matter of just getting decent, FAST tools to 99% of users that need them. That last 1% (features?) will most likely not change a thing in their workflow to date either way! The same people actually still using nonsense such as EDLs and the likes for exchange first and foremost. ????
– RK
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[Robin S. Kurz] “Hmm. Not sure that exporting an XML on FCP’s side, then exporting the graded footage and an XML on Resolve’s side, then simply double-clicking the last XML to get it back into FCP is that big of a deal.”
As has already been discussed elsewhere, the roundtrip between FCPX and Resolve can be quite problematic at times.
– Oliver
Oliver Peters – oliverpeters.com
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[Michael Gissing] ” For years I have been told by X users that the 3rd party model works best but now I see advocacy for what I said from day one. “
I don’t know, I think the argument was more nuance than that.
I think X users liked the idea of paying for third party apps as you use/need them if the tradeoff was getting all the updates for free and not having a subscription model like Pr.
If apple is going to toss everything in the app for FREE, I’m sure most X users will take it.
That argument hasn’t changed at all, from what I have seen.
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[Tony West] “I don’t know, I think the argument was more nuance than that.
I think X users liked the idea of paying for third party apps as you use/need them if the tradeoff was getting all the updates for free and not having a subscription model like Pr.”
Exactly.
To seemingly suggest anyone at any point was suggesting that FCP was somehow 200% perfect and no one thought it could ever get better nor did anyone WANT any improvements such as these, is ludicrous.
If anything, most, such as myself, would have told you that it’s certainly lacking here and there (as ANY software on the planet is), but mostly in more specialty areas, which simply aren’t on the list of the vast majority. And for those that have them on their list, there are options and solutions out there. And yes, in the end, for a fraction of the price of what certain ransomware will cost you. ????
IOW if the next version didn’t have these tools built-in, I’d still have them if I needed/wanted for cheap. And for certain things I may even still continue to use those other options, but this way e.g. any project exchange I may have will be far less burdened by potential incompatibilities if I choose not to and the onboard toolset get the job done, which I’m thinking they will 99% of the time.
I for one even recently wrote up a long list of things that I don’t like about the current state of FCP’s CC tools here… and low and behold…
– RK
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[Tony West] “If apple is going to toss everything in the app for FREE, I’m sure most X users will take it.”
Which gives me the chance to bring this thread back on track. Blackmagic have tossed a huge amount of built in functionality in a free app. The whole reason for the choice to use Resolve on this film was to be able to finish the whole show in the one piece of software rather than xml transfers that lack translation of many elements. I think Apple is smart to add better grade tools to X and for some that may be enough for their needs but it seems a lot further away from being an all in one tool than Resolve for a wide range of projects.
This article to me says that having the right range of built in tools will appeal as much as editing methodology. I agree that Resolve is catching up to X & Pr in edit functionality but at the same time they have so much more built in for finishing. But I am enjoying seeing people now argue for having more in the software and less reliance on third parties when Apple get around to putting it in. The argument remains as to whether a single integrated finishing tool, which seemed to be the intent of X has been totally realised by Resolve with half the development time.
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[Michael Gissing] “The whole reason for the choice to use Resolve on this film was to be able to finish the whole show in the one piece of software”
I know, I would just personally preferrer that one piece of software to be X.
The first thing he talks about in the article is shooting with BM cameras in ProRes 4444. Obviously that footage will play nicely in X since ProRes 4444 was developed by Apple.
He then goes on to talk about “organization” which for my money no program does it better than X.
The majority of the time spent is going to be in the timeline and in organization and that’s where I would put my priority. finishing is a small part of the overall time put in. I wouldn’t make my decision based mainly on finishing, but that’s just me.
[Michael Gissing] “But I am enjoying seeing people now argue for having more in the software and less reliance on third parties when Apple get around to putting it in.”
I just don’t get this. People are always going to use third party stuff.
I’m not going to use RX?
I’m not going to use Neatvideo?
Products like these help me finish “inside X”
The other thing that is left out of the article is any mention of sound. Did he mix the sound in R14 and if so what were the advantages of that if any.
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