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Michael Cioni on X and modern workflows for NAB 2016
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[Michael Gissing] “so why shoot non raw?”
Better workflow.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Michael Gissing] “I also don’t understand the assertion that X is a database with an NLE and AVID is an NLE with a database. All edit systems are databases with a UI to perform editing. Surely they all are database first, NLE UI second. How can they be otherwise?
“If form actually follows function, the FORM of the programs matters.
X installed ACCESS to the database directly into the interface. It created easy to operate tools like the entire keyword HUD, magnetism, and clip containers that default to audio AND video in a single representation – precisely because that works best in the range based tagging system that is the heart of X.
Traditional NLEs pretty clearly put the editorial heart of the system exclusively in the timeline.
Basically, Randy and the team took the database out of the shadows. And brought it’s controls directly into the program’s dashboard.Not understanding why elevating the database over the timeline is a REAL difference is fine. But an increasing number of people (most recently Mr. Cioni andthe WTF post team) have been telling you that the way X uniquely approaches editing DOES matter to them.
It may NEVER matter to a particular editor. Preference is preference, after all. But for some of us, it matters a whole lot.
Been saying that for about 5 years now.
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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[Jeff Markgraf] “Wow. Sick burn there, David. Great contribution, really on point.”
There’s an old rule that applies to that video Jeff, i.e. anything you publish for public dissemination should be properly error-checked before publishing, because it reflects on you, your company, and your message.
That rule is not one that anyone in our business should ignore, and that makes my point valuable to all here on the Cow who wish to communicate effectively and have a long and lasting career. Or would you argue otherwise?
By not taking just a few minutes to crush the blacks or to simply drop a freaking LUT on Michael’s on-camera portion of his company’s PR piece, would you argue that they strengthened his message?
Face it dude, it’s sloppy craftsmanship, and the guy who posted it for Light Iron and Panavision should get reprimanded, because it’s going to be on the Internet in perpetuity, and forever is a long, long time.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Neil Goodman] ” Interplay and Isis seems to keep it at bay”
That’s certainly the case in Hollywood. And it’s a shame.
My last three projects were on Avid. It was difficult to keep from falling into the “this would be so much easier and efficient on FCP X” mantra. Because Avid was fine…it was, well, Avid.
But, OMG, I could have cut the edit time significantly in FCP. Not because of the logging/metadata tools so frequently fetishized here on the forum. Rather, it was because of the ease of moving clips and groups of clips around. For upfront, sales reels, promos, etc., nothing I have used in 30 years is as fast and easy as X (once you get to know it for a few months). Seriously. Nothing.
Frustratingly, the only thing preventing using FCP X was inertia. It wasn’t a case of we offline, and the network finishes, so we have to use their NLE platform. The company was finishing, so platform didn’t matter. More of a “not invented here” syndrome.
Oh, well. At least I get paid for the unnecessary OT.
By the way, I surely do loves me some Interplay. Best thing Avid ever did.
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Michael, you might check the discussions on the BM Cinematography forum. There’s lots of questions being raised, with technical analysis, on the sensor and an uneven magenta cast by those who’ve taken delivery.
First time here in a while. Nothing much changed. Triumphalism and fetishism seem just as widely prevalent with a few adult voices in the mix that make for enlightening reading and at the same time demonstrate a patience and tolerance that might qualify for sainthood. Bravo and thanks.
David
https://AllinOneFilms.com -
[David Cherniak]”Michael, you might check the discussions on the BM Cinematography forum. There’s lots of questions being raised, with technical analysis, on the sensor and an uneven magenta cast by those who’ve taken delivery.”
Thanks David. I have been following the magenta story. I haven’t got my 4.6 yet and hopefully the issue will be sorted before I do.
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[Michael Gissing] “I agree that X’s access to database functions are probably better than other NLEs but it doesn’t alter the fact that all (I nearly typed ALL) NLEs are databases with editing UI. Not understanding that is fine.”
I think there is a difference, even though my initial flip response was that it was all hyperbole. If you think of NLEs like Media Composer, Premiere Pro or FCP7, the media is organized in the browser as a sort of spreadsheet structure. Each media clip has a set of metadata that can be accessed in the bowser. Each media clip is connected to an actual asset. In addition, there are search, sort and filter functions that work in tandem with this spreadsheet design.
In FCPX at the basic level, you have that, too. That’s when you bring a file into an Event. However, in addition to the standard spreadsheet-style display of metadata, you also have two levels of organization on top of that – Collections and Smart Collections. Think of this as a relational database view of the information. Unlike a traditional NLE, multiple clips can simultaneously appear in different Collections or Smart Collections, based on the keywords you’ve assigned or the sorting criteria you’ve established. This isn’t possible in a regular NLE, unless you create a sub clip for each alternate location.
That difference between the spreadsheet and relational model is the key difference – in how the editor interacts with info in the browser – between FCPX and all other NLEs. It’s why FCPX gets characterized as a database that lives on top of an NLE.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters]”This isn’t possible in a regular NLE, unless you create a sub clip for each alternate location.”
Resolve has smart bins that also group clips that live in different folders(bins) by metadata tags. X isn’t exclusive. Sure it is a nice thing and I am starting to use it to manage versions of graphics & credit rolls in finishing so I get that editors like this feature.
I think allowing this sort of display and control access to the database is good and both X and Resolve are potentially better by having that feature for certain types of production, more notably docos than features.
Again, under the hood they all are databases first. The UI simply gives the editor the degree of access but I am criticizing the sales pitch that somehow structurally X is different to Avid.
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[Oliver Peters] “Collections and Smart Collections. Think of this as a relational database view of the information. Unlike a traditional NLE, multiple clips can simultaneously appear in different Collections or Smart Collections, based on the keywords you’ve assigned or the sorting criteria you’ve established. This isn’t possible in a regular NLE, unless you create a sub clip for each alternate location.”
How is this similar/dissimilar from Adobe’s Search Bin? If I make a Search Bin in PPro media, sequences, etc., will appear in both their original location plus in the Search Bins, and the Search Bins will auto-populate as new media/sequences are created that meet the search requirements.
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[Michael Gissing] “Resolve has smart bins that also group clips that live in different folders(bins) by metadata tags. X isn’t exclusive. “
When FCPX introduced this, no one else had this function. BMD has copied FCPX as far as they can (possibly legally) in the updates to Resolve, but this came a few years after FCPX launched. That’s still only one of the two options. They don’t have an equivalent to Collections.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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