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Large projects
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just out of curiosity – what do you say to simon’s point about not being able to see the contents of an audition before you select it? how would you see that working with the forty endboards you mention?
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
Wouldn’t this be easier with compound clips.
I’m a relative beginner compared to you fellows and don’t do this sort of thing, but if I had 40 variations of a title I’d work like this:
Complete first title, option drag up and make changes. Repeat, collapsing completed layers into compounds as I went. Once finished, break open all the smaller compounds and collapse into one compound clip. Open the compound and solo the version needed for each export.
If I needed to work on a particular version in context i.e in the main timeline, I would first compound everything above and below it, break open the main compound, mute the other compound layers and go to work.
Granted the performance might not be there at the moment.
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[Jeremy Garchow] “I would disagree. It is at your fingertips, it’s just wrapped in a different package. It’s fine if you don’t like the wrapping paper, I find that it’s kinda cool and most importantly, useful. Shoot me. “
I don’t want to shoot you, I want to help you avoid pain when a year from now your client asks you to change to one of your versions and you have to hunt thru cover flow to try reassemble it all over again 😉
But seriously, I’m happy auditions work with your versioning workflow. To each his own. I just think the tradeoffs are worth examining, especially in the context of this thread on project bloat.
We’re only now starting to take in the full consequences of Apple’s radical change to sequence architecture. The bloat issue is real and it’s very disturbing. I sincerely hope it’s a bug/implementation issue and the engineers are on top of it, but this looks like something that’s pretty deep. Apple’s response and how long it takes them to address it will be telling.
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
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[Aindreas Gallagher] “just out of curiosity – what do you say to simon’s point about not being able to see the contents of an audition before you select it? how would you see that working with the forty endboards you mention?”
I don’t really understand, really. You can see a thumbnail and a name in the audition popup, you can also skim the clip in the audition popup, then use right/left arrow to choose, or you could always the clip back to the viewer. It’s pretty easy to see what’s happening, in my opinion.
You set ins and outs on a clip and then add it to an audition to apply any duration you want, just like any other clip anywhere.
In the case of my 40 slates and tags, it’s easy. Usually when it comes down to this amount of spots, everything is well organized by me to keep me sane. Self preservation. Every spot has an ISCI code (or SpotID) and the slate is named ISCI#_Slate and tag is ISCI#_Tag. All spy’s are exactly the same length including black, slate, black, spot, black Simply match the tags/slates and I can have 40 timelines in one timeline. You do have to export one by one, but with FCPX, even if I had 40 Projects, I’d have to do that anyway.
Is that what you mean? Hope that answers it.
Jeremy
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[Rob Mackintosh] “Wouldn’t this be easier with compound clips.”
In my opinion, no.
Most of the tags (and slates actually) I personally do in After Effects. They are rendered movies, so I am just swapping movies.
Have you messed with auditions yet?
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Sure, I like to name things too – it really helps in these situations, but aren’t you still spooling through tiny thumblnails until you see the clip title corresponding to the Sunday evening spot endboard? They’re not independently selectable items or sequences for export. They’re locked into that weird audition carousel that you have to spool around one by one every time to get to the board you want. That’s a little ridiculous isn’t it?
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[David Lawrence] “I don’t want to shoot you, I want to help you avoid pain when a year from now your client asks you to change to one of your versions and you have to hunt thru cover flow to try reassemble it all over again ;)”
That’s the easy part, it’s in one Project. 😉
[David Lawrence] ” To each his own. I just think the tradeoffs are worth examining, especially in the context of this thread on project bloat.”
Very true. Auditions would help here, I’d imagine.
[David Lawrence] “We’re only now starting to take in the full consequences of Apple’s radical change to sequence architecture. The bloat issue is real and it’s very disturbing. I sincerely hope it’s a bug/implementation issue and the engineers are on top of it, but this looks like something that’s pretty deep. Apple’s response and how long it takes them to address it will be telling.”
It certainly is a bit disconcerting. With multicam coming, my bet is that they fix it, or get it working more efficiently. Or not.
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FCPX would really benefit from deeper metadata integration into the timeline.
It’d be pretty cool if you could tag clips in auditions and have FCPX re-edit for versioning based on your tags.
And that’s just one obvious application for metadata-aware editorial. We’ve got some new tools — it’d be wonderful if we could use them to solve common (and easily automated) editorial problems that weren’t easily solved before.
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
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Actually, as a non-user, I always thought the idea of auditions having different lengths was a major strength. It’s something you can’t do in FCP7, the whole stacking and muting idea only works if the clips are the same length. It would seem to me auditions would shine when you want to try out different takes of the same scene, where each take might be a few seconds off from each other, and compare how they play with the material around it. I always thought that was a great idea.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Aindreas Gallagher] “That’s a little ridiculous isn’t it?”
I guess I see it as choosing a clip. You don’t have to spool through cover flow, you can just use control left/right arrow to easily blow through all the clips. They are added in order that you add them, so most likely alphabetically in the case of ISCIs as I’d drag a wad to the audition. And of course you can make audition clips in the browser.
It’s either that or constantly spool 40 separate timelines. I’ll say this again. If a change comes to the meat of the spot, I change one timeline, I don’t have to change 40 timelines, which I like. I’ll put up with having rifle through a few clips.
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