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Forums Creative Community Conversations Game of Thrones London Trailer workflow in X.

  • Game of Thrones London Trailer workflow in X.

  • Bill Davis

    February 29, 2016 at 6:06 pm

    Just an interesting article, particularly relating to how magnetism helps Tom in High Profile promo trailer production by pinning SFX to ending clips and making it easier to time things…

    FWIW.

    https://www.fcp.co/final-cut-pro/articles/1779-cutting-the-game-of-thrones-trailer-on-final-cut-pro-x

    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.

  • Neil Goodman

    February 29, 2016 at 9:04 pm

    The clip connection thing is cool – but anyone who does promo, builds the backplates that same way no matter what NLE. Just lasso all the clips and move them. Not quite as elegant as FCPX clip connections but really its a non issue.

    Whats crazy is that he had 2 weeks to do such a simple edit, and if it was in another NLE – would it have taken 4? lol

    Just kidding- I get it why a :30 cut can take 2 weeks, notes notes notes. Deal with it all the time,. Have spent more time on simpler things just cause of how many versions, v.o. tones, diff GFX packages etc.

  • Bill Davis

    February 29, 2016 at 11:37 pm

    As to the 2 weeks, getting to Copenhagen, settling in the hotel, finding a good coffee shop for the mornings and a bar for the evenings and researching how to say “have the newest cards arrived by bonded courier yet? in Danish cuz after all this is GofT! – all that stuff takes TIME to do at a truly professional level Neil.

    That’s my presumption, anyway.
    ; )

    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.

  • Scott Witthaus

    March 1, 2016 at 1:22 am

    [Neil Goodman] “Whats crazy is that he had 2 weeks to do such a simple edit,”

    Having worked with agency creative teams for over two decades, this does not surprise me one bit. Sometimes it’s like “how slow do I go so you can hit your billable hours…?”

    Scott Witthaus
    Senior Editor/Post Production Supervisor
    1708 Inc./Editorial
    Professor, VCU Brandcenter

  • Jeremy Garchow

    March 1, 2016 at 2:27 am

    [Scott Witthaus] “Having worked with agency creative teams for over two decades, this does not surprise me one bit. Sometimes it’s like “how slow do I go so you can hit your billable hours…?””

    Or, do 8 million versions just to come back to what was close to a polished v1 two weeks later.

  • Neil Goodman

    March 1, 2016 at 4:13 am

    [Scott Witthaus] “Having worked with agency creative teams for over two decades, this does not surprise me one bit. Sometimes it’s like “how slow do I go so you can hit your billable hours…?”

    Totally – I’ve had promos for networks go way over 2 weeks for shows waaaaay smaller than GOT.

  • Herb Sevush

    March 1, 2016 at 12:29 pm

    [Jeremy Garchow] “Or, do 8 million versions just to come back to what was close to a polished v1 two weeks later.”

    That’s where the “zero frame trim” works it’s wonders.

    Herb Sevush
    Zebra Productions
    —————————
    nothin\’ attached to nothin\’
    \”Deciding the spine is the process of editing\” F. Bieberkopf

  • Simon Ubsdell

    March 1, 2016 at 12:35 pm

    Of course, one of the key takeaways from this article is this:

    “When it came to sending across the timeline there were quite a lot of hoops to jump through and settings to get exactly right. But very basically, I exported an XML to Resolve, and an AAF from Resolve to Avid. This bought across the picture (though not any speed ramps).

    With audio I tried to send as an AAF to Avid via X2Pro, but it didn’t like it (I suspect mixed sample rates and more than 24 mono tracks was the issue). So I consolidated all the audio files and used a spreadsheet from Producers Best Friend to rebuild the audio manually.

    I wouldn’t particularly recommend this as a workflow, It was a little bit of a pain.”

    Simon Ubsdell
    tokyo-uk.com

  • Scott Witthaus

    March 1, 2016 at 2:32 pm

    [Jeremy Garchow] “Or, do 8 million versions just to come back to what was close to a polished v1 two weeks later.

    …and that’s why I try to always bill agencies by the hour…

    Scott Witthaus
    Senior Editor/Post Production Supervisor
    1708 Inc./Editorial
    Professor, VCU Brandcenter

  • Jeremy Garchow

    March 1, 2016 at 2:47 pm

    According to this forum, by the hour is invalid!!!

    Project fees only! 😀

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