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Of locked bins and collaboration
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[Michael Gissing] “My understanding of the Resolve collaboration is exactly that. Multiple users accessing a single shared project.”
Mine too. You can have a different user on each “page”. 1 edit, 1 color, 1 mix, 1 media etc….
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~ My FCPX Babbling blog ~
~\”It is a poor craftsman who blames his tools.\”~
~I still need to play Track Tetris sometimes. An old game that you can never win~
~\”The function you just attempted is not yet implemented\”~ -
[Charlie Austin] “Mine too. You can have a different user on each “page”. 1 edit, 1 color, 1 mix, 1 media etc….”
In the videos I’ve seen you still have a similar dynamic to Adobe’s solution where changes are pushed/published and then must be accepted in order to be applied, but that’s for the pervious versions of Resolve. I’m not sure how things have changed in Resolve. Looking forward to hearing from people as they start to use it in the wild.
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Thanks Andy. Always interesting to see opinions presented and comparisons made.
I can see why he has made his choice and I can see that he is prepared to change it later as software evolves. I must say I am surprised that he bothers to point out the money difference because that is just a triviality for working professionals compared to the big picture of using the best fit software. I spend so little on hardware and software compared to 20 years ago that it has become a minor expendable compared to other costs.
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Brian, it reminds me of an alternate way I used to do collaboration 20 years ago using a DAW called dSP. It had collaboration software that enabled multiple users to work simultaneously in the one project over the network, all sharing a common RAID with all media. This meant each user could track lock and be working away say on dialog while another was cutting the music or FX. Each would save and that would send an update message. This was true single project collaboration.
The alternate way was to have people work on separate copies just like in the video you linked. Auto save was set to a short cycle and I could import specific tracks from the auto saves which I could see over the network. No-one needed to close their individual projects just like this. It had some advantages in that it was totally robust where the true shared project collaboration would sometimes not update reliably. However, it was a work around to the true single project collaboration which was superior but a tad flaky.
So this workaround collaboration is clever but not as versatile and powerful as the collaboration tools in Resolve and as I understand it Avid and Pr. For example, the idea of in Resolve having a sound editor and colorist working on the project as it is being edited doesn’t require having to go to a separate version, open it and then copy paste anything to update. In the case of grading whilst cutting, this simply wont work as the graded footage may not have the latest shot trims. Certainly useful and a similar technique I used 20 years ago in my networked DAW facility.
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So Patrick Southern posted a short video on the new collaboration features in PPro for ProVideoCoalition.
https://www.provideocoalition.com/premiere-pro-collaboration-lumaforge/
At first blush I’m skeptical of how smoothly this is going to work in the real world. The video skimps on the setup details, but it appears that users create multiple projects and then import those individual projects into a Master Shared Project. The individual projects and the individual folders can then be locked/unlocked so users don’t overwrite one another’s work. It seems like a kludgy attempt to mimic Avid where the PPro Master Shared Project is analogous to an Avid Project and the PPro projects that reside inside of the Master Shared Project are analogous to bins in Avid.
A couple of other things bugged me as well. Not being able to set In/Out points in a locked folder/project is a pretty notable limitation, and being able to create folders that aren’t sharable has a high probability of creating confusion/frustration.
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Peter Wiggins wrote an article about a dev called Arctic Whiteness that made an app to help smooth over some FCP X collaborative pain points called, Final Cut Library Opener (with help from Mike Matzdorff ). Curious as to what others think (it mainly seems to automate a process that otherwise has to be done by hand).
Almost interesting to mention that in the article Peter calls collaborative workflows “… the killer feature for NLEs in the ever expanding video production business.” and says that, “… Apple has built the necessary project architecture that will allow collaborative workflow in the future.” so maybe there is enough interest in the FCP X community for Apple to finally pull the trigger on collaborative editing in X?
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I don’t understand that if you are still editing and are not done, how can someone mix audio while the edit is not finalized. Wouldn’t you have to wait for picture lock before mixing audio? I can see doing audio and color at the same time.
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[Brian Seegmiller]” I don’t understand that if you are still editing and are not done, how can someone mix audio while the edit is not finalized. Wouldn’t you have to wait for picture lock before mixing audio?”
The process of tracklaying, including cleaning up dialog tracks can be started during the edit process. Generally with docos, I insist on a locked cut before starting audio post but in some circumstances both happen at the same time with lots of hours spent reconforming between the NLE and the DAW. Feature films are notorious for this and also often distributors or execs want to have temp mixes to view scenes. In those circumstances there is already a huge overlap but the reconform process is very messy. By having the process happening in the edit app, the editor also gets to see how timing and pacing work with a much more developed sound track. This is useful but not so useful when it takes so much time and effort to reconform and the temp mixes have to be imported into the NLE. This ugly step is removed by having it all happening in a shared project in one app. Same goes for grading.
Next important example is re-versioning. Happens on nearly every doco in my world. The Feature version, ARTE 52 minute, Discovery 52 minute, BBC 48 minute etc etc. By having the reversioning in the one app, all that needs to be tweaked are mix and clip transitions in the shortened version. Otherwise there is the ugly process of comparing EDLs for example using third party software to produce a change list which the sound editor then has to redo all the changes, then tweak the mix and clips at the cuts.
So yes it’s a double bonus having the processes overlapping in one shared project rather than across different platforms as they currently do.
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