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In-Action Story on FCPX and Focus
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[Oliver Peters] “Merely reacting to the cheerleading tone.”
Exactly.
I’m just pointing out the inconstancy.
I didn’t see you saying Pr was “cheerleading” when they or folks who like to use it talked about Gone Girl.
Everybody does this. AVID, Pr, RED with their cameras. Everybody.
It seems silly to me to call Apple out for doing what EVERYBODY does.
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[tony west] “I didn’t see you saying Pr was “cheerleading” when they or folks who like to use it talked about Gone Girl.”
Actually I did in this post.
“[Scott Witthaus] ” I find this far less a puff piece than almost every Avid press release”
Funny. I think they are all about equal, except Apple’s have a more gushing tone (to me at least). But in the end, they are there to push one or more products, and as such, aren’t very instructive if you want detail.”– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I don’t see the word “cheerleading” in there but I do see “puff piece”
Not sure who was “cheerleading”
Noah started the post with no fan fare at all.
“For the folks who’ve been curious about how this went:
https://www.apple.com/final-cut-pro/in-action/focus/
Noah
It looked like you started by responding to Bill, who I’m not sure was really “cheerleading”
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[tony west] “… who I’m not sure was really “cheerleading””
Just call it obligatory, preemptive, copy/paste pi**ing on the parade. The NLE or film are ultimately completely irrelevant. It’s to keep us annoying little fanboys at bay and take the wind out of our sails, not because it’s actually happening. ;-D
All those damn whipper-snappers making all that unqualified noise, when they don’t know what is was like back in the day, I tell ya!!
😛
– RK____________________________________________________
Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
hehehe yes
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[Jeremy Garchow] “I tried to like Prelude, but I didn’t prefer the marker ranges and subclips. It was a personal preference. They were hard to read and understand, especially once the edit started. They seemed a lot more permanent than tags, even though you could modify them whenever you needed, and a lot of it boiled down to interface for me. I just didn’t prefer the marker based interface, just like I didn’t really prefer subclips in FCP Legend.”
Prelude is more akin to Legend’s “Log and Transfer” window. But that logging of metadata stuffs is weak sauce, thin and watery, and that is a metadata metaphor. The workflow I tried to use was a series of 8 commercials (4 in English, 4 in Spanish), for a grocery store pitching its ingredients and the how-to of a recipe. It was great campaign. I was the guy who got the mountain of footage, and the chef was not a professional actor, so there were very many takes to wade through and off-script, ad-libs, and on-set rewrites. True editing: bring order to the pile of footage. I tried to use the metadata stuff in Prelude, by recipe name and corresponding script. And then I’d have all these nifty subclips. It really did not work at all, because the information I typed into Prelude did not show up in the clips unless I opened the clips and looked at the markers, the GUI problem. (CS6, fyi).
I am basically committed to Adobe (although I love X too) (and will continue to argue with accounting for CC). Having said that, I hope Prelude can include a true metatagging/keywording interface.
And now having said that I’ll give Prelude another try.
One more thing: Audio from Premiere to Audition is lame lame lame because when the audio goes from Premiere to Audition, the media is transcoded and the timecode is re-written to where ever it is in the Premiere time line. This means conforming any picture changes is virtually impossible, and I literally have to use old-school metadata: paper and pen. This hopefully has been fixed in CC. And changing audio output settings (ergo omf) is simply ridiculous: new sequence, change audio settings, copypasta. Roles win for this every time. There is no reason this cannot be done in Premiere via the mixer interface: I need a little button [export stems], and then whatever name they are is what they are named. When someone else (say in ProTools) opens it up, they see exactly what my mixer is. … and now I’m writing that as feature request
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[Walter Soyka] “I think the bigger problem is not so much something tagged wrongly versus something wrongly untagged.”
You can start a novel with that sentence.
Also the skimmer/icon view ought not be overlooked as a kind-of metadata. Our belief that Shot-A is a Close Up is justified based on inductive generalizing. At that moment it can be decided as “wrongly tagged” or “tagged wrongly.” Quick accurate access to the picture (skimmer/icon view) prevents that bigger problem. I can’t recall if Legend could do a skimmer/icon view, and I don’t know if Avid does either.
EDIT: Yes Legend had a kind-of skimmer view with the thumbnail, which could be skimmed to find which image would best represent that shot.
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[Richard Herd] “[Walter Soyka] “I think the bigger problem is not so much something tagged wrongly versus something wrongly untagged.”
You can start a novel with that sentence.
“I’ve requested that that be engraved as my epitaph.
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[Richard Herd] “I can’t recall if Legend could do a skimmer/icon view, and I don’t know if Avid does either.”
To be clear, only iMovie and FCP X have “skimming”. Premiere Pro CC has “hover scrubbing”, which is like skimming, except that you are only seeing what’s in the thumbnail frame – no filmstrip. Other NLEs let you scrub inside the thumbnail. With these and PProCC, the difference is holding down the mouse button or not. Avid lets you play a thumbnail from the bin with JKL and that also goes out through the video output path to an external monitor.
The big difference in FCP X is that you can skim a filmstrip – either in the thumbnail or list view of the event. Even if you don’t skim, you can quickly see when a shot changes framing from wide to tight, for example. No skimming required, just look at the event in list view and arrow down through clips to see what’s there. For me, that’s the biggest single performance improvement in any NLE, when you first start looking at the footage. This starts for me before any elaborate key wording (other than Finder imports).
No other NLE gives you that. For me, it’s a big selling point. A variation (though not nearly as fluid) is that with Avid, you can look at the timeline of any source clip (toggles with edited sequence). The timeline window can display a filmstrip track. So opening a clip and viewing the source timeline with the filmstrip track enabled, would give a similar method of looking at the visual display of the entire clip without playing or scrubbing.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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