-
NLEs, DAWs, Tracks and Audio-centric Workflows — Continuing the Conversation…
-
[Bill Davis] “While I heartily agree with your (sound post is a skill set outside most editors experience) what I find most fascinating is how little regard outsiders typically have for ANY skill set outside their own in this era.”
Conversely though Bill, post people like me do appreciate the editors and directors skills. As a grader & sound mixer, I love great photography. I can’t stand mixing to ungraded images and I hate the fact that Color had no sound so grading is done mute.
Editors often give me thumbs up during a mix because we recognised a cut that just wasn’t working and made it work by sound.
But this thread is more about how the tools should allow for best manipulation of both sound and video at the edit stage and allow the job to progress to post where budgets allow. I get the shrinking budget and the perceived and real need to finish in a single tool, regardless of how far it pushes skill sets and comfort zones. For that reason I wonder at how the magnetic timeline/ roles concept in particular is helpful or detrimental. There is much that can be learned from DAWs because they are, in many ways, more mature and have tried concepts and methodologies. I would love a dollar for every time a picture editor has watched me on the Fairlight and said “why can’t video edit software be like that”
-
[Michael Gissing] “The editor would have the option to chose clip name or description which would then default to meta data.”
Does Fairlight accept XML in any form?
-
[Jeremy Garchow] “Does Fairlight accept XML in any form?”
Yes. I have been able to import FCP projects via XML for a few years, but I still prefer to use OMF as it moves and manages the media into a single file which is much easier for backup management. Also the Fairlight runs on a WIN XP platform so connecting Mac formatted drives would need MacDrive software. As I have FCP, I just emport an OMF over the network directly to the NAS unit that is the audio drive for the two Fairlights.
Fairlight will do its best to flatten the video to a single track and it will translate scaling, basic wipe and dissolve FX but obviously not plugins or speed ramps. Audio plugins are also ignored. Again, I find it easier to make an H264 reference QT.
-
[Michael Gissing] “Again, I find it easier to make an H264 reference QT.”
That’s what I do for most of the audio guys, some still prefer dv which is a pain for me! 😉
I was thinking that maybe fairlight could conform clip names from the OMF and a sequence XML (or allow for clip name choice). The problem with metadata (and Walter Soyka pointed this out) is that there’s no standard. One mans User Clip Name is another man’s location.
Jeremy
-
[Jeremy Garchow] “I was thinking that maybe fairlight could conform clip names from the OMF and a sequence XML”
XML simply points to original media so that won’t co-relate to OMF media which has been truncated with handles. I will be talking to the Fairlight guys who are very savvy with interchange formats but I think they will utilise the FCP X XML to allow direct interchange both in and out.
The OMF idea is more a plea to whoever does the translate to offer a naming option for the clips. I am sick of seeing DSC_102856_1233 as a file name instead of car_interior_driving.
-
[Michael Gissing] “XML simply points to original media so that won’t co-relate to OMF media which has been truncated with handles. I will be talking to the Fairlight guys who are very savvy with interchange formats but I think they will utilise the FCP X XML to allow direct interchange both in and out.”
Yeah, sorry, should have been more specific in an fcpxml as I am sure this will be used on some sort of FCPX OMF export.
In understand theres no tie to fcp7 omf and Sequence XML.
This brings up more great points. Thank you.
-
Folks, apologies for the delay. I got a bit deeper than I expected and took a bit more time than I thought. It turned into something of a short article so I went ahead and started a new related topic. I think this will also be a good place explore some of the examples Walter mentioned.
Let’s keep this thread going but keep the emphasis on audio, music and DAW vs NLE UIs.
Please join me to continue discussing tracked vs. trackless timelines, editorial intentions and spatial workflows here:
The Open Timeline and Spatial Workflows — An Example
p.s. Jeremy — I promise I’ll get to all of your questions 😉
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl
Reply to this Discussion! Login or Sign Up