Interesting article on using FCPX for Broadcast

[Jeremy Garchow]

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

You are just unfamiliar with the language. Big deal.

I don’t see whats so hard about I, o, and q.

If you need to replace a shot you select it and replace it. How about that language? Ludicrous? Tortured?

I would love to see playhead replace return. I miss it dearly.

[Franz Bieberkopf]

Christian,

Thanks for the link – I don’t really monitor the techniques forum and I had missed this.

David Lawrence‘s suggestion here is genius – I can imagine any given “storyline” as having multiple tracks.

https://forums.creativecow.net/thread/344/3871#3930

… utterly off-topic but interesting.

Franz.

[Steve Connor]

[Franz Bieberkopf] “Thanks for the link – I don’t really monitor the techniques forum and I had missed this.

David Lawrence’s suggestion here is genius – I can imagine any given “storyline” as having multiple tracks.

https://forums.creativecow.net/thread/344/3871#3930

… utterly off-topic but interesting.”

I think if Apple do relent and give back some fixed “track” elements then it would be good solution

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Jeremy Garchow]

[Rafael Amador] “This guy doesn’t know what is he talking about.”

I agree that there’s some weird things going on in that article. I can’t see how 1080i and blue only is viable. The Matrox MXO did this and I always felt like it was a cheat.

He’s doing to best he can with the tools he has chosen for himself.

There’s no question that fcpx is a viable NLE for broadcast. Not for everyone, but if you can start and finish in fcpx, it’s capable, and according to him, his clients have never been more pleased.

So, he might not know what the technical truth is, but he knows exactly what he’s doing. There’s a difference and it’s an important one.

[Rafael Amador]

[Jeremy Garchow] “He’s doing to best he can with the tools he has chosen for himself.

There’s no question that fcpx is a viable NLE for broadcast. Not for everyone, but if you can start and finish in fcpx, it’s capable, and according to him, his clients have never been more pleased.

So, he might not know what the technical truth is, but he knows exactly what he’s doing. There’s a difference and it’s an important one.”
Yes.
Like the labs rats that know which button to click to get food instead of an electro shock.
Mechanics doesn’t need only to know WHICH screws they need to tight and HOW, but also WHY.

Jeremy, is nothing about FCPX but about understanding what is video.
He is able to undertake processes that he doesn’t fully understand. He did that on his previous NLE and will do it with the next one. Good for him.
Nothing to criticise about, just that he should keep editing broadcast shows instead of writing blogs and talking on color.

I think FCPX is great for this kind of stuff where, more than editing, what you do is assembling the pieces of a program (the editing is done before even shooting).

[Jeremy Garchow] “I can’t see how 1080i and blue only is viable.”
That’s really easy.
I’ve done that years ago with FCP when I wanted to calibrate my old SONY trinitron that has no “blue only’.
Put some bars on the time-line and drop the “”Channel Mixer” filter.
Set “Red Output” and “Green Output” = 0.
Done.
rafael

http://www.nagavideo.com

[Jeremy Garchow]

[Rafael Amador] “Jeremy, is nothing about FCPX but about understanding what is video.
He is able to undertake processes that he doesn’t fully understand. He did that on his previous NLE and will do it with the next one. Good for him.
Nothing to criticise about, just that he should keep editing broadcast shows instead of writing blogs and talking on color. “

It’s like you don’t want to believe that fcpx can actually be a viable NLE for someone who chooses to use it.

He chose it, he had the skills to deliver a broadcast series, and he wrote about it. So what?

You think he doesn’t understand video or how to read scopes?

[Rafael Amador] “Set “Red Output” and “Green Output” = 0. “

You can’t be serious, right?

[Jeremy Garchow]

[Rafael Amador] “I think FCPX is great for this kind of stuff where, more than editing, what you do is assembling the pieces of a program (the editing is done before even shooting). “

Also, I have no idea how a fishing show can be edited before its shot, or any show edited before its shot and how fcpx or any NLE favors this over any other.

—

” Naysayers be damned.” – Matthew Celia

[Matthew Celia]

Walter, my comments weren’t directed at you, but were at the several posts after yours that seemed to miss the point about his workflow being good for broadcast work. I know your posts about color, but some people seem to think that without this gear or that feature they can’t deliver broadcast output no matter what and the exciting thing about this article to me was proof that you indeed can.

Agree that accurate color is incredibly important. But also have gotten into a fair number of discussions where I feel people pixel push a little too much and spend so much time and money trying to eek out the most accurate system ever. Well, IMO it’s never worth it. Look at the audio industry. Everyone there was pimping out their systems with 24bit/96k systems when the 99% of people were listening to heavily compressed MP3 files traded on Napster. We all know where that went. Now people are recording amazing sounding albums in their living room off a Macbook Pro and Protools M-Box. This gets philosophical, but I don’t think the video industry is that far behind… I mean look at what’s being produced and sold to studios.

But back to the point, agree that clarifying his process would be a benefit to us all. Small houses like mine send out for all tape stuff and while I always feel like we pay up the nose for it, it’s still cheaper than the investment in the gear itself (which I feel like is on its way out any way).

—————-
FCP Guru
http://www.fcpguru.com

[Matthew Celia]

Haha, did I just make it into your sig?

And BOY do I wish those shows I cut could be edited before they were shot 🙂

Seriously though, FCPX is particularly awesome for the OPPOSITE kind of work. You know, the kind where the director and DP had no concept of a script before shooting and need the editor to come in and tell a story. The skimmer and strip view has saved me hours of sifting through stuff on a recent documentary. It’s wonderful for scanning and picking out small, beautiful moments…

—————-
FCP Guru
http://www.fcpguru.com

[Thomas Frank]

[Craig Seeman] “. HDV as source (who would ever use if for delivery for any kind of work including on broadcast) is heavily compressed.”
BBC has.