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L.A. Freelancers, Learning FCP X might be a good idea…
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[Aindreas Gallagher] “cheers. and yes actually.”
I really want to dig in to old posts from you about how FCPX isn’t posted on job boards.
And then when it does get posted on a job board for a pretty decent sized operation, we are all bat sh*t crazy.
It’s a beautiful time to be here.
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I don’t understand what this fuzz is about either.
Two months ago we added three bays to our post house in Paris. I called the Paris International Film&Television school because they have a Master’s Editing program and I asked if they could point me to some ex-students looking for a job as full-time editor for broadcast post. I specified that we worked with FCPX. They told me they still trained their students using legacy FCP but most of them worked with FCPX at home or on independent projects and some were really proficient at it.
One week later I received 18 applications through the school and I was amazed at how well all candidates knew the program. Three of them are working full-time with us now.
Popular film and media schools in Belgium and Holland such as Media College Leiden, Broadcast College and others train their students on FCPX now. So I think there’s nothing special about this anymore.
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[Ronny Courtens] “Popular film and media schools in Belgium and Holland such as Media College Leiden, Broadcast College and others train their students on FCPX now. So I think there’s nothing special about this anymore.”
Well, you’re obviously not taking into account the the US is the center of the known universe.
What happens in LA, NY and Atlanta (used to be Chicago) is all that matters. Didn’t you get the memo?
; )
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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Any freelance editor (myself included) should be learning FCPX, if for nothing else than to give you another marketable skill. If I were a staff editor, I would be learning FCPX, PP, etc., because in today’s economy you never know when you will be out-sourced to the street.
Coming from FCP7, MC and (long ago) DS, and using the Ripple Training series for X, I am really starting to see how wickedly powerful this software is. In some ways, it makes going back to MC or FCP7 feel like you are editing with rocks and pointed sticks. And of course in others FCPX can infuriate you!
and so it goes….
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
Bill Davis: Well, you’re obviously not taking into account the the US is the center of the known universe.
I know that, Bill. But scientists say the universe is rotating, so everything outside of its center obviously moves faster than the centre itself ((-:
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[Ronny Courtens] “I know that, Bill. But scientists say the universe is rotating, so everything outside of its center obviously moves faster than the centre itself ((-:”
Oh great. Thow actual science into the discussion? Sheesh.
No wonder you “forigners” feel so smug.
(running to look up something about interplanetary gravitational force on Wikipedia so I can come back and sound smarter than I actually am…)
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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For reality TV, it’s a pretty major thing to not only make a checksum’d camera archive of a card while simultaneously ingesting and editing the footage. Showing that to a few producers who already made up their minds from hearsay started to rethink their assumptions.
I just worked on a job that had six cameras set up to do a “bullet time” move at any part of the interviews. They used KiPros from the SDI so they wouldn’t have to transcode to prores. It was a week long shoot. Lots of money and time wasted when X could have instantly synced all the cameras with the matching timecode.
I do think that once producers realize the time saving benefits of X, the genie will be out of the bottle. This is good and bad since once producers assume you can do more with less, the rates are also adjusted accordingly.
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[Darren Roark] “Lots of money and time wasted when X could have instantly synced all the cameras with the matching timecode.”
Huh? That function is not unique to X. And neither is native/instant ingest of ProRes files.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Huh? That function is not unique to X. And neither is native/instant ingest of ProRes files.
My mistake. What I meant is they had a tight post deadline and were recording to six prores recorders instead of ingesting the XDCAM cards as they work in FCP7.
I know the reigning NLEs can all sync via timecode. What I meant was the added labor and equipment expense in order to avoid transcoding wouldn’t have been necessary in X or Premiere Pro. However in X, ingest and logging are done during the same step. IIf you have multiple fast card readers going, it can be a real time saver.
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[Darren Roark] “However in X, ingest and logging are done during the same step”
You might have to explain this further, because if you are suggesting that ingesting clips and assigning keywords to them happen simultaneously, that is not correct.
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