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Markers or Metadata – The Debate!
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[Simon Ubsdell] “Sequence-focused editing is an ideas generator.”
Nice!
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[Simon Ubsdell] “Sequence-focused editing is an ideas generator.”
But then you are locked in to just that, a sequence, or more often, many sequences. All with footage in them in an order that maybe makes sense to someone, maybe not.
One of the great features of FCPX to select an Event or Events and simply peruse all of the footage.
This has generated more ideas, at least for me, than string outs.
It allows you to look for shots that may not work together in sequence, but will work together in a sequence. 🙂
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[Jeremy Garchow] “One of the great features of FCPX to select an Event or Events and simply peruse all of the footage.
This has generated more ideas, at least for me, than string outs.
“On a lot of projects in FCP I do both, I really miss FCPX’s browser when I work in PPro
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I’d also suggest that if the state of the expected raw materials of a film today, always mimicked the state of the raw materials that were expected when the films being discussed were being assembled, I’d have a bit more attraction for the (…lest you miss that unique trigger moment of creativity) idea.
I can easily see the potential magic it can hold.
But there’s also the reality of today’s shooting style.
Hanging strips of celluloid above the Steenbeck is charming when the edit bay is 10×10 or even 20×20. Not sure it’s as charming when you need a room 1000′ x 1000′ square – just to hold all the clips.
And that’s increasingly the rule now. More cameras, more coverage, more options. Logrhytemically more, sometimes.
So do you restrict coverage to allow the editor to bathe in the raw materials deeper and longer? Or do you seek systems that impose a bit more order onto the increasing chaos?
If you “pre-winnow” successfully, does that return more time to steep your brain in what’s left?
Big questions. No simple answers.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “Hanging strips of celluloid above the Steenbeck is charming when the edit bay is 10×10 or even 20×20. Not sure it’s as charming when you need a room 1000′ x 1000′ square – just to hold all the clips.”
Not actually how it worked.
Simon Ubsdell
tokyo productions
hawaiki -
[Bill Davis] “I’d also suggest that if the state of the expected raw materials of a film today, always mimicked the state of the raw materials that were expected when the films being discussed were being assembled,”
They actually still do.
[Bill Davis] “But there’s also the reality of today’s shooting style. “
You should work with RED or Alexa files – or for that matter, most other pro cameras. The concept of maintaining the structure and organization of cards throughout the life of the media, beyond just recording, is very much like camera rolls of film negative in the film days. That structure is maintained in part, because no higher-end production is an all-in-one/one-man-band post operation. You have to send projects to audio post and/or grading, so mainly the integrity of media linking is essential. That’s what this sort of media organization enables, regardless of whether or not it mimics film.
[Bill Davis] “Hanging strips of celluloid above the Steenbeck is charming when the edit bay is 10×10 or even 20×20. Not sure it’s as charming when you need a room 1000′ x 1000′ square – just to hold all the clips.”
What does that mean? What do you mean by 1,000′ x 1,000′? Makes no sense.
[Bill Davis] “And that’s increasingly the rule now. More cameras, more coverage, more options. Logrhytemically more, sometimes. “
Which means you have to adhere to a very strict and rigid system of media management – just like with film.
[Bill Davis] ” Or do you seek systems that impose a bit more order onto the increasing chaos?”
I would suggest those systems have existed since the start of NLEs.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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