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Large projects
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[Chris Harlan] ” In this case, it would work fine if my delivery is individual files–which it often is–but not well if I need to deliver a string out.”
Copy/paste, change audition clips. Or export each movie, reimport and string out, whichever works best.
String outs shouldn’t add anything much more complicated.
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Chris Harlan on Nov 26, 2011 at 8:52:28 pm
Yeah, I definately keep thinking about the audition feature and how I might apply it for my work.
I know this is going to upset Jeremy, sorry, but I can’t see how auditions are much of an advance on just stacking alternates above each other on the timeline – except that the latter is easier to keep track of, muting what you don’t want (Ctrl/B) or soloing it (Ctrl/S) to taste.
Compared to this standard practice auditions feel clunky – what you want to get at is hidden away in a sub-menu rather than laid out graphically in front of you.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Chris Harlan] “In some cases, you can actually end up with more promo material–in terms of aggragate length–than the source material, itself. Every once in a while it doubles.”
You’re right, I pictured short promos, even several per show, being a small percentage of the show. Not the other way around.
[Chris Harlan] “Now, in FCP 7 when I make six copies of a :30 timeline to change out VO and end plates (Next, Next Thursday, Tonight, etc.) only the changes require additional drive space, as everything indexes back to renders they all share. Is this the case in X?”
When you duplicate a timeline in X, you are given the choice of copying the render files. I think if you do not copy them, they need to be rendered again anyway. As far as I know each timeline in X points to its own private render cache.
On the other hand, if only the plates and VO differ, you could have one timeline in X with all the diffs laid in and assigned subroles that you could toggle on and off for different exports. Might be more than you want to fiddle with though.
[Chris Harlan] “Does that still seem true to you? I really don’t understand the under-workings of X’s event/render/project file, but if I’ve read this thread correctly, It seems to me I’m building a lot of baggage.”
Not if your promo payload is > 100% of the source material. I was figuring on no more than 4-5 minutes of aggregate promo off any given 22 or 44 episode.
[Chris Harlan] “Well, that’s a pretty big “duh,” but I guess you never know who you are talking too. I’m eSata RAID off of my eight core, which does just fine for my current needs.”
Didn’t know your rig. Unless your eSATA is 6Gbps, my advice holds. The bleeding edge is the 6G SATA SSDs and they carry a 20% premium in price over the 3G SATA SSDs.
[Chris Harlan] “Well, lets see if that ends up on the next eight or twelve core. If–I guess–there is one. This would be a good year to add to the collection, but so far, no TBolt Mac Pro. And, for the first time in a long time, I’m wondering about HP or Dell.”
Unless Apple abandons the Xeon CPUs for the Mac Pro (and if they were going to, they would have by now), we won’t see a new Mac Pro before Q1 2012 when Intel finally ships the Sandy Bridge Xeons.
Best,
Andy -
[Jeremy Garchow] “Copy/paste, change audition clips. Or export each movie, reimport and string out, whichever works best.
String outs shouldn’t add anything much more complicated.
“I don’t think they add anything more complicated, other than they add rendering. Your suggestions, though, are a little more complicated than what I normally do. Normally, I just create a new timeline, drop the other six timelines into that timeline, and then render out.
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[Jeremy Garchow] “This is where the Audition feature can be used in fcpx. One sequence, different outs per audition. Instead of switching sequences, you switch audition clips. Yeah, it’s a different way of thinking. Only what changes is what is rendered.”
[Simon Ubsdell] “Compared to this standard practice auditions feel clunky – what you want to get at is hidden away in a sub-menu rather than laid out graphically in front of you.”
Agreed. I also don’t understand how they would help if you needed to make additional editorial changes to your project based on the audition changes. How would you keep these unique instances of the project without duplicating it? And what if you don’t want to switch audition clips every time you need to output?
I don’t see how this workflow helps if you need to keep multiple unique versions of finished sequences always available. Am I missing something?
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
[Simon Ubsdell] “I know this is going to upset Jeremy, sorry, but I can’t see how auditions are much of an advance on just stacking alternates above each other on the timeline – except that the latter is easier to keep track of, muting what you don’t want (Ctrl/B) or soloing it (Ctrl/S) to taste. “
Theres no right or wrong way, just alternatives.
In Chris’s case, that means having six clips stacked to each other, and setting up six different Subroles. That’s fine if that’s what you want. Maybe someone else might find that messy.
Or you can use an audition to keep everything tidy, and change the audition on just a few clips. It’s up to you and your needs.
The workspace is currently limited in FCPX so having alternative ways to view and store your edits and choices is key. Plus, perhaps some people like the tidiness and don’t need everything available in front of them if they aren’t using it. To each their own, fcpx allows a few different ways, including making six different sequences if that what it takes.
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[Chris Harlan] “I don’t think they add anything more complicated, other than they add rendering. Your suggestions, though, are a little more complicated than what I normally do. Normally, I just create a new timeline, drop the other six timelines into that timeline, and then render out.”
I hear you. You could do that in X as well of you want. It would involve copying and pasting though, not nesting the sequences. I wish you could take compound clips from a sequence and add them to an event, then you could do just what you do in fcp7.
Using the audition method would mean you would simply copy/paste the final sequence to itself five more times, then change the auditioned clips to fit whatever order the string out needs to follow. It’s a different way of thinking, but it does work.
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[Aindreas Gallagher] “Randy Ubillos, you scion of editing intelligentsia, you visionary of time – “
It didn’t really occur to me until reading this–but could it be that Randy U. is a lost son of Gallifrey, and like the Master before him, has reclaimed his place as a Time Lord and is, even now, preparing to face down the Doctor (and Amy and Rory) throughout the whole next season (or, just the Christmas Special?) Could FCP X be one of the first of many advanced, multi-dimensional, planet-chrushing weapons in his arsenal? Is the iPad3 really a TARDIS?
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[David Lawrence] “Agreed. I also don’t understand how they would help if you needed to make additional editorial changes to your project based on the audition changes. How would you keep these unique instances of the project without duplicating it? And what if you don’t want to switch audition clips every time you need to output?
I don’t see how this workflow helps if you need to keep multiple unique versions of finished sequences always available. Am I missing something?”
Guys, relax. It’s an alternative way to do things. Don’t worry, you won’t use it.
Do you guys ever version anything like Chris does? You need to make multiple versions of the exact same timeline? Like change the music, or change one logo, or change a phone number to serve a certain market? Auditions are crucial here, you don’t have to use another Project, therefore you don’t have to load another Project or create a whole other set of render files, which is how this conversation got started.
Yes, it is different than fcp7.
For instance, I have a project that I am working on now and it involves 12 sequences x2 for different versions that are exactly the same minus a slate and various logos and phone numbers, as well as different VO in certain areas.
In fcp7 if a change happens, I have to change 24 sequences. In FCPX, I’d change 12 and export each one twice. I would welcome that change as it helps me do my job and keep things tidy. Thats all, if it doesn’t work for you, then it doesn’t work for you.
Jeremy
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chris good sir, you speak to my deepest second heart.
I met tom baker back stage on ‘the mask of moriarty’ at the gate theatre in dublin, aged twelve, courtesy of the mother who is forty years treading the boards in our town.
He leaned down and boomed “helllooo” with a big, impossibly toothy grin. He was just great. Insane childhood highlight.
I do rag on Mr. Ubillos to a ridiculous degree given I’m a pleb, but.. I am savagely inclined to tweak his nose. said the gnat on the windshield.
that aside: the doctor’s wife?
BEST. BLOODY. EPISODE. EVER.
Neil Gaiman ftw.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics
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