Interesting article on using FCPX for Broadcast

[Jeremy Garchow]

Its true that you can only mark in and out on primary with i and o, but what exactly do you want to do Aindreas?

It doesnt work like 7, but it does work.

An example of what you’re trying to do would help.

Just because the i and o is visually marked on the primary doesn’t mean the incoming media has to go on to the primary.

It can go above/below as connected clips using the range you marked.

You can also select a connected clip above the primary and edit with a browser based clip as well.

So yeah, it doesnt work like an fcp7 timeline becuase it’s not.

Have you tried any of this?

Jeremy

[Aindreas Gallagher]

honestly jeremy? that is just a mess of stupid weirdness that nobody will remember in three years. I cant operate consistently outside of the primary, I cant edit consistently outside of the primary, I can’t .. ara god, look it doesn’t matter.


Just because the i and o is visually marked on the primary doesn’t mean the incoming media has to go on to the primary.

It can go above/below as connected clips using the range you marked.

You can also select a connected clip above the primary and edit with a browser based clip as well.

nobody cares about all the weird stupid conventions jeremy – no wait, we do – it actually is fully stupid forgettable software.

ech.

http://www.ogallchoir.net
promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

that was really classy, some grinning guy in a baseball cap.

http://www.ogallchoir.net
promo producer/editor.grading/motion graphics

[Walter Soyka]

[Matthew Celia] “I think many people talking about “accurate color” and this guys workflow have missed an important point worth repeating: his shows are airing on broadcast and the consensus is that the shows look JUST as good, if not better… He also does all his color in FCPX… I find his workflow and his drive in the spirit of moving forward, rather than clinging to “the way things are done simply because that’s the way we’ve always done them”. “… I found the article pretty exciting. Naysayers be damned.

I started the conversation about color here, so I assume you’re talking to me.

Why put the quotes around accurate color? Color matters, and accuracy is important.

Color management in FCPX is an exciting feature, and I’ve defended FCPX’s color and rendering system before [link].

I’m not trying to nay-say FCPX at all here, and I didn’t miss the part about broadcast work being cut and colored with it. I think that Mr. Hoye is using a profiled monitor, as he mentions using an “external profiling device,” so his workflow looks pretty sound.

If the article is supposed to be about using FCPX to deliver for broadcast, though, it should get color right. Instead, either through poor editing or a technical misunderstanding, the article contains some bad advice.

It also ends before the final deliverable. For the sake of completeness, I’d be curious to hear about the workflow from his file masters to HDCAM tape at the external post facility — especially if a legalizer is used.

I’m not saying that FCPX is incapable of quality output — just the opposite! I’m trying to clarify what’s necessary to do with FCPX to get quality output.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Jeremy Garchow]

[Aindreas Gallagher] “nobody cares about all the weird stupid conventions jeremy – no wait, we do – it actually is fully stupid forgettable software.”

I call bullshit.

[Steve Connor]

[Aindreas Gallagher] “nobody cares about all the weird stupid conventions jeremy – no wait, we do – it actually is fully stupid forgettable software.
“

You asked a question, it was answered and now you’re just trolling

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Aindreas Gallagher]

you’re right – that is trolling, but sometimes when one says FCPX conventions out loud they really do sound tortured and ludicrous.

http://www.ogallchoir.net
promo producer/editor.grading/motion graphics

[Christian Schumacher]

There’s some interesting insights here, regarding Primary/Secondaries

https://forums.creativecow.net/thread/344/3871#3942

[Herb Sevush]

[Walter Soyka] “For the sake of completeness, I’d be curious to hear about the workflow from his file masters to HDCAM tape at the external post facility — especially if a legalizer is used.”

Should I infer that you are not all that fond of legalizers?

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

[Rafael Amador]

[Walter Soyka] “There’s a lot of misinformation about color in that article.”
A lot of miss information Walter?
You are too kind.
This guy doesn’t know what is he talking about.

One question (I’m a PAL-lander):
Does this statement makes sense in an all digital tapeless postproduction workflow (digital camera-HD-NLE)?:

“NTSC often was referred to as “Never the same color twice” in the old days of analog- and to some degree, barring some incredibly difficult math, the same leeway exists today in HD color correction”.

rafael

http://www.nagavideo.com