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ITV studios convenes meeting. basically tells attending avid editors to start using premiere.
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[Michael Aranyshev] “Hollywood politics is my guess. Maybe I should read the book though.”
You should read the book. Getting the greenlight to use FCP was probably the easiest part. FCP 3 had no change list ability, problems keeping proper keycode and timecode relationships, limited OMF options, etc.,. The book is also much more than just about the nuts and bolts experience of using FCP.
[Oliver Peters] ” Digital Film Tree provided training and support.”
I think just saying DFT provided training and support undersells their roll. DFT created custom solutions for Cold Mountain and worked directly with Apple engineers on improving FCP and Cinema Tools.
[Oliver Peters] “Which other films are you talking about? Prior to CM, the Coens had cut one film on FCP.”
There were smaller films like Rules of Attraction and Full Frontal (Soderbergh’s one off DV experiment) but nothing on the scale of Cold Mountain had been attempted before.
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[Andrew Kimery] “Thanks for the tip Dennis. I’ve got 24gigs right now but I’ll keep an eye on RAM usage and upgrade if it become a bottle neck. What about project file size? I know FCP 7 would start crashing left and right if a project got to be over 90megs. Is their a similar ceiling to PPro? Also, someone else brought up timelines and in my experience with FCP 7 it was timelines that ballooned project file sizes, not really the number of clip in a project.”
Andrew,
The project file size in general shouldn’t matter, but as a cautious fellow, I’m all for keeping it smaller as a precaution. The biggest thing that I see that balloons project sizes is a lot of extra clips that are useless in the project. This is why I’m always a big fan of the Media Browser personally. The other thing that can make projects bigger is heavy usage of Warp Stabilizer. This stores a lot of keyframes and data directly in the project which if many/most of your shots have WS on it, will start to affect performance.
HTH,
Dennis -
George Washington was released in 2000 which means it was edited even earlier. By the end of 2001 I edited a 35 mm feature and was logging footage for 16 mm short. In the summer of 2003 I helped Solvent Dreams to troubleshoot bad telecine logs for a 35 feature and the email exchange sounded routine.
As far as I remember FilmLogic had change lists. I was a beta tester so I should remember asking Loran for them but I don’t. And I remember generating them. May be Apple removed it in the first version of CinemaTools but they were back shortly.
The biggest film related improvement to FCP didn’t come after Cold Mountain. It came much later after Will MacNeil made a very elaborate document about FCP shortcomings and send it to Apple. I signed his petition so I know exactly what he asked for and what we got. It was 24@25 timecode support. It didn’t affect negative cutting but it was really huge for Digital Intermediate.
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Thanks again for the tips Dennis.
-Andrew
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[Aindreas Gallagher] “t boils down to whether you stick with avid, or shift to premiere. Those are pretty much the available options.”
Given a specific predicate. The decision to change is not about “what’s best for the editor.”
Producers are managing a business and need a way to make sure the shooting ratio stays profitable and PP XMLs into that system. Avid doesn’t. Producers get a cute infographic with their breakfast tea saying how much storage they’ve used, which is a way to say how much money you’ve spent.
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[Tim Wilson] “I can’t wait for Fincher’s story though.”
https://www.youtube.com/watch?v=0cmqwbZa6_w
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I know – but you know what I mean – a lot of the most seasoned editors working on the best projects in fiction and non fiction are cutting with avid. That’s just the way it is – for now.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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The solution to using warp stabilizer in Premiere without ballooning the project size is to dynamically link the clip to Ae and add the warp stabilizer there. That way the memory hit stays in Ae project. I usually run one parallel Ae project with just stabilized clips.
David
https://AllinOneFilms.com -
[David Cherniack] “The solution to using warp stabilizer in Premiere without ballooning the project size is to dynamically link the clip to Ae and add the warp stabilizer there. That way the memory hit stays in Ae project. I usually run one parallel Ae project with just stabilized clips.”
I do the same thing, but I render the stabilized clips back out so that I have real media for them, not dynamic links.
With Project Link enabled in the After Effects output module, Ae saves the path to the AEP that rendered the file in the rendered output file’s XMP metadata. That means that from Premiere, you can right-click the rendered file, choose “Edit Original” and it will re-open the correct AEP in Ae for you.
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
[Walter Soyka] ” do the same thing, but I render the stabilized clips back out so that I have real media for them, not dynamic links.”
I do the same, keeping the render on the track above the dynamic link clip, which I usually disable. Keeping it present in the timeline provides an easy route back to the Ae comp in case of changes.
David
https://AllinOneFilms.com
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