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Interesting little series…
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[Charlie Austin] “There are plenty of people getting paid to cut in X. When I use it, I get paid. :-)”
And they are specifically asking you to cut in X, or just paying you to cut and don’t care what you use? I think it’s slightly disingenuous to be referring to the latter.
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[Gary Huff] “And they are specifically asking you to cut in X, or just paying you to cut and don’t care what you use? I think it’s slightly disingenuous to be referring to the latter.”
Fair enough. How about *I* get paid to cut in X. 🙂
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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
[Aindreas Gallagher] “[Charlie Austin] “tracks are annoying. To me. When I’m cutting”
mmm. I see. A commonly held view amongst editors there. But do enjoy FCPX 🙂
Gosh Aindreas, thanks for your sincere good wishes. I do enjoy it!
[Aindreas Gallagher] [Charlie Austin] “I need to be able quickly “mix” as i go along with a keystroke. Not grabbing keyframes”
because keyframes are hard. I find they give very exact control to the roll off coming off b-roll into an IV – I don’t understand how people can just go with dissolves.
I’m always using three keyframes at the break to bring the track down and then give it a long roll off into underscore. Dissolves don’t do it for me – never have.I’m talking about keyframes in the sense of needing to carefully grab a little volume adjuster in the clip and drag it, or open another tab, or click on a fader every time I want to change it’s overall level. I use keyframes if I need to, as in your second case above, but not to raise or lower an entire clips level. Also, fade handles in X are way faster than keyframes for the first case you describe.
[Aindreas Gallagher] [Charlie Austin] “Meh. There are plenty of people getting paid to cut in X.”
No Charles, there really aren’t.”OK, I qualified that. *I* get paid to cut in X. And 7. and potentially MC and/or Pr. I prefer X, and for the most part have the luxury of not having the tools I use chosen for me.
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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
[Charlie Austin] “Fair enough. How about *I* get paid to cut in X. :-)”
How about, “I get paid to cut…I choose to do it in X”?
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[Gary Huff] “[Charlie Austin] “Fair enough. How about *I* get paid to cut in X. :-)”
How about, “I get paid to cut…I choose to do it in X”?”
six of one… etc. If the point you’re trying to make is that there are limited freelance gigs that call for X, then perhaps you’re right. All I’m saying is that, for me, X is faster, easier to organize and find material, and honestly more fun to work with. I find the trackless timeline, imperfect as it is, much quicker to cut in. I’m really not trying to change anyone’s mind. The only reason I started posting here was to point out that X is a perfectly viable NLE for professionals to use. I did the same thing when FCP 1 came out, but there weren’t any blogs like this to post on, so I just started using it. After a while, so did everyone else. 😉
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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
[Charlie Austin] “I did the same thing when FCP 1 came out, but there weren’t any blogs like this to post on, so I just started using it. After a while, so did everyone else. ;-)”
I did the same thing when Discreet *edit came out and then a few years later Autodesk killed it without a warning and now nobody uses it. The past as prologue has many variations, we only know which one fits after the future becomes the past.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “The past as prologue has many variations, we only know which one fits after the future becomes the past.”
Heavy… 🙂 But you’re right for sure. And I’m not putting all my eggs in one basket by any means. Apple have said they have a 10 year plan for X and i’ve got no reason not to believe them, so I’m giving it a shot. Maybe that plan doesn’t include adding or beefing up professional features, but so far it seems like it does. I guess we’ll find out at some point. :shrug:
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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
[Aindreas Gallagher] “I am only suggesting that opting for a non visual, non spatial semantic tagging pool for all your various video assets may in fact not be the most useful thing for an editor. “
And until you live with the new approach, your suggestion is based on theory and supposition, not on fact.
You may be conditioned to the NLE equivalent of not being happy unless all your postcards are thumbtacked to a huge physical bulletin board so you can “visually locate” the ones with PINK in them. And that might have satisfied you in the past and you might be stuck thinking that taking away your ability to do the visual choice will impede your editing…. BUT….
After learning X, you discover it’s trivial to just VISUALLY select every scene with PINK in it – and drop it in a PINK keyword collection.
X is built around the idea that ANYONE can understand keystroking R then E – and before you even type anything else, you’re given an instant VISUAL view of every clip with PINK in it. So there’s no need to constantly search the HUGE visual field unless you elect to.
But the serious thing that many editors overlook is that the amount of visual material we have to deal with is INCREASING quite rapidly. The “pin it to the bulletin board” idea simply doesn’t work if you have tens of thousands of post cards. It’s simply impossible to resolve information within that large a database. So you MUST learn tools that solve those problems if you want to remain relevant in a future where restricting your view to ONE “bulletin board” manageable project might not be even possible in a media saturated future.
X is, IMO, a precursor to industry CHANGE that is real, inexorable and unstoppable. More stuff we need to work with. More complexity. More potential disorganization. It’s not a few cameras or a few audio sources, it’s potentially arrays of cameras and arrays of mics (not to mention arrays of still shots and smart phones and crowd sourced content, etc, etc, etc.)
It’s going to increasingly be “organize or die” in the media future.
So an editing approach built around organizational tools that are designed for the tools and processes we have now, rather than those designed back when film came on physical film came on reels – kinda makes sense to me.
But whatever.
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.
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[Gary Huff] “Then why suggest the latest version of the Mac Mini with it’s Intel 4000 GPU?”
If I was responsible for off-loading the footage from a dozen cameras – I bet half a dozen minis loaded with ShotPut Pro attached to modest rez racked LCD monitors would ROCK for a DIT. Manage the keywording via a laptop running X – but assign the transcoding and proxy generation to Mini’s and I bet productivity would skyrocket.
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.
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[Bill Davis] “But the serious thing that many editors overlook is that the amount of visual material we have to deal with is INCREASING quite rapidly. The “pin it to the bulletin board” idea simply doesn’t work if you have tens of thousands of post cards. It’s simply impossible to resolve information within that large a database. So you MUST learn tools that solve those problems if you want to remain relevant in a future where restricting your view to ONE “bulletin board” manageable project might not be even possible in a media saturated future.
“totally, totally valid counter, but tens of thousands is rather an outlier – also to my understanding the entire event and project library becomes increasingly sluggish at those loads in X – its been said on here a bit.
In point of fact – the only editing system I know that flies at the kind of count is Avid.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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