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In-Action Story on FCPX and Focus
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I actually quoted the article instead of him, but here is his quote
“What I love about Final Cut Pro X is that it allowed me to be involved with, and in control of, every aspect of making our film.”
What does that statement mean to you?
He is saying this experience is different than the others. If it were the same, the statement would make no sense.
I’m sure he could have been involved before this point. He has plenty of skills or he wouldn’t be where he is. He just didn’t want to until he saw this product.
That’s what some people don’t seem to get about X
It makes people want to use it who previously didn’t want to be as involved with other NLEs
THAT’S what’s different about it. You keep trying to act like X is no different.
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[Jeremy Garchow] ” I have long argued that while X might not turn an 11 month edit in to 3 months, you can get to the creative editing much more quickly”
and you have long been correct Jeremy.
It’s not that people can’t learn any software that’s out there. It’s never been easier to learn stuff. It’s not like we are working for NASA trying to land something on anther planet.
Our jobs are important contributions to society like theirs but in a different and creative way. X gets you to the fun creative part like you said.
I enjoy doing the Series but I don’t enjoy tearing out the truck afterwards. That’s just part of the job so I can do the game.
X is like the ops manager saying to me “you can just do the game and walk away at the end” ; p
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[tony west] “that slams it in your face.”
Not sure why you feel you need the continued uncivil, rather belligerent undertone. I personally find it rather inappropriate. We can all have different opinions without “slamming” anything in each others faces.
– RK
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[Simon Ubsdell] “One rather curious aspect of this production for me is that this is the very first feature film of any kind that the Editor Jan Kovac has cut, acccording to his imdb entry. […] Even his TV work is not especially extensive.”
I don’t understand how that is “curious”. Would you have felt/said the same if they had edited it on Avid, PPro, Vegas or any other NLE?
Of course I might unfairly be reading a “no actual experienced editor would have voluntarily edited on FCP X” sub-text into it. Since, again, I don’t see the relevance, since what would have been different with any of the above?
[Simon Ubsdell] “Why would you not want a graphics expert to do the titles for a movie of this scale in a dedicated graphics environment? Bizarre.”
Why? Or have you seen them and they’re somehow insufficient? If so, yes, bizarre. If not… who cares? But then I don’t know how you define “dedicated graphics environment” either, nor what is better about one.
I’ve worked on a couple of big name broadcast series where all the titles were layed out in whichever NLE was being used. Nothing unusual about it from my experience. Of course none of them, or this, were/are Marvel comic epics either. 🙂
– RK
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You are correct
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This was not really an observation about FCP X so much as an observation about this project.
The directors didn’t feel that an experienced feature film editor would have anything useful to offer. That’s a bit surprising.
Equally they didn’t feel that an experienced titles designer could bring anything of value. That too is interesting.
What was interesting about the Cold Mountain moment was that a legendary feature film editor made the choice to use FCP – what’s striking about this case history is that it’s the directors’ choice, because they wanted to minimise the input from the editor and maximise their own.
Maybe this is a healthy development, but it’s certainly worthy of comment – perhaps even more worthy of comment than whether keyword collections are a superior organizational tool.
Simon Ubsdell
tokyo-uk.com -
[Simon Ubsdell] “One rather curious aspect of this production for me is that this is the very first feature film of any kind that the Editor Jan Kovac has cut, acccording to his imdb entry.”
Perhaps, this relative newbie status allowed him to evaluate the tools based on their merit and not on preconceived notions or inertia. I’m not sure it takes anything away. Proof is in the pudding as they say.
[Simon Ubsdell] “Why would you not want a graphics expert to do the titles for a movie of this scale in a dedicated graphics environment? Bizarre.”
Really? For some productions, overwrought title sequences distract from the movie. I personally eschew any fancy-pants lower thirds for my videos. I think they are just terrible. That’s not to say there isn’t a place and time for fancier graphics, but it doesn’t need to be all (or even most) of the time.
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[Brett Sherman] “Really? For some productions, overwrought title sequences distract from the movie. I personally eschew any fancy-pants lower thirds for my videos. I think they are just terrible. That’s not to say there isn’t a place and time for fancier graphics, but it doesn’t need to be all (or even most) of the time.”
I totally agree about simplicity being preferable – in principle, and where it is appropriate.
The point though is that very, very few editors actually know anything at all about design or typography and even where simplicity is the object, or rather especially where simplicity is the object, a real understanding of design and typography will make a big difference.
It seems curious that one wouldn’t want to access the knowledge and expertise of someone skilled in this area …
Simon Ubsdell
tokyo-uk.com -
[tony west] “He is saying this experience is different than the others. If it were the same, the statement would make no sense.”
I don’t dispute what he’s saying. Obviously that’s his experience and very valid. But his comparison is his use of this tool versus his use of previous tools. All I’m saying is that I’ve heard multiple directors say exactly the same about the tool that they prefer. It’s entirely a personal experience that may or may not translate to everyone.
[tony west] “It makes people want to use it who previously didn’t want to be as involved with other NLEs
THAT’S what’s different about it. You keep trying to act like X is no different.”This is true for SOME. It’s equally true that others try it and want to throw the computer against the wall.
I feel that it is different, but is is also very much the same. All NLEs have innovations and pros and cons. This is simply a new variation on a theme.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Simon Ubsdell] “It seems curious that one wouldn’t want to access the knowledge and expertise of someone skilled in this area …”
So you’ve seen them? Or you know that no one with skill in that area put them together? Because otherwise those seem like a lot of fairly random presumptions, no? I say we maybe see them first and then decide. But if the titles in the trailer around 2:00 are any hint… easily doable and nice looking.
Btw, the titles I spoke of before were in fact predetermined in terms of font type, size, position etc. and were also all done entirely in FCP 7. There was no reason not to. A simple Motion template was made and reused as needed. Something that could just as well been done in this case also, though then that wouldn’t qualify as “built-in”, if that were in fact the case with them.
I also have been told what to edit on in the past if I wanted the job. Be it for reasons that the director/producer decided on or because it had to stay “compatible” with other service providers involved or what not. So that, too, I don’t consider the least bit unusual.
And I still don’t know what a “dedicated graphics environment” is. 🙂
– RK
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