Oh dear, we will switch to fcpx!

[Richard Herd]

[Simon Ubsdell] “I do think there are structural problems with implementing it”

Hmm. Disagree a bit. You’d think a separate project and event would make the ganging sync easier. Granted, I rarely use it. Which is why I’m hoping to learn new technique and style of editing from you 🙂

[Simon Ubsdell]

[Richard Herd] “Please discuss Gang Sync and how you use it…maybe it’s a question more for art of the edit forum, and not this one.”

You will be disappointed if you wanted to hear about a new creative editing technique from me here.

The reason I need it is for the very mundane task of eye-matching (which also relates to my need for genuine replace edit).

(Eye-matching is required when you’re trying to replace one set of source shots with another (usually of higher quality than the original) and you can’t do it with matching (or even offset) timecode. It’s very common in the VFX world and it’s a pretty hefty job if you have to do it. I sometimes have to do VFX replacement but more often it’s swapping out one version of a feature film for another when cutting trailers and promos – Charlie Austin can testify to having to do this job as well and it’s far less occasional than one would like, but it has to be done. On top of that, it very often needs to be done in a screaming rush with a monstrous deadline breathing down your neck, so it’s no fun in any way and it really doesn’t allow for workarounds. You need the tools you need and that’s that.)

If you’re trying to eye match a scene where there is very little movement it’s a huge help to be able to lock the source and the timeline together using Gang Sync and step back and forwards to make sure the sync point you think you’ve found is indeed the correct one.

Not very glamorous, I know, but there you have it.

Simon Ubsdell
tokyo-uk.com

[Charlie Austin]

[Simon Ubsdell] “Charlie Austin can testify “

… only if I’m subpoenaed! (but um… yes, I agree.)

[Simon Ubsdell] “If you’re trying to eye match a scene where there is very little movement it’s a huge help to be able to lock the source and the timeline together using Gang Sync and step back and forwards to make sure the sync point you think you’ve found is indeed the correct one.”

Actually, I find the single viewer quite handy for this. Find a frame and toggle the view using CMD-1&2. Easier than 2 side by side views. But unless it’s the first or last frame of the target clip, you then get to curse X for not having match frame replace and do the workaround dance. So close…. :-/

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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Simon Ubsdell]

[Charlie Austin] “Actually, I find the single viewer quite handy for this. Find a frame and toggle the view using CMD-1&2. Easier than 2 side by side views.”

I see what you’re saying and that’s a handy tip, but I often find it’s a case of, “yes, that looks like a match on that frame, but what’s it like if I step back through the shot, are we still in sync?” And often enough it’s not quite as in sync as you’d have hoped …

And that’s where not having Gang Sync makes it awkward because you don’t have that instant feedback as to whether the whole shot is in fact in sync or whether you’ve messed up with your first instinct.

But of course you doubtless never mess up and it’s just me …

😉

(I ought to be better at it – when I started out I was still eye-matching on film.)

Simon Ubsdell
tokyo-uk.com

[Charlie Austin]

[Simon Ubsdell] “And often enough it’s not quite as in sync as you’d have hoped …”

For sure, gang sync in some form needs to return, but the A/B viewer switching is kinda nice… But again, no match frame replace often negates it’s utility…

[Simon Ubsdell] “But of course you doubtless never mess up and it’s just me …
“

Well, yes. Everything I do is perfect. That’s what all my cuts finish on version 1.
-please note… extreme sarcasm is contained in the preceding text-

😉

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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Andrew Kimery]

[Charlie Austin] “Actually, I find the single viewer quite handy for this. Find a frame and toggle the view using CMD-1&2. Easier than 2 side by side views. But unless it’s the first or last frame of the target clip, you then get to curse X for not having match frame replace and do the workaround dance. So close…. :-/”

Charlie, do you not work with an external monitor? On previous gigs I’ve done a lot of shot replacement (show was mostly stock footage) and while I used the gang sync in Avid I also toggled source/record to A/B on the external monitor for shots that were had to tell side by side (like wide shots of oceans).

[Andrew Kimery]

[Richard Herd] “Avid’s IT controls are pretty much beautiful, and that’s a big deal. Events, Project, Libraries are close. I would be curious the IT permissions (read/write) on X’s “stuff,” whereas Avids pretty much guarantee picture does cannot get leaked before release.

And really that brings up another question about LA freelancing: to what extent are you trusted with material that waits for release? For example the latest cut from the Bachelorette or American Idol and so on. What controls are used so that nothing gets leaked?
“

I’m not sure I follow your question. While Avid + ISIS does allow you to administer R/W access to users someone could still export the footage they had Read access to and upload it if they wanted to (or just record it with their phone).

For people working on a show, say American Idol to keep that example going, everyone signs NDAs but for the most part I think editors just don’t want to be a dicks and leak footage. Plus the schedules are so insane that taking the time to leak something (and trying to do it in a way that you won’t get caught) just sounds too exhausting.

Years ago I worked at places that did BTS and EPKs for major films and for those there is certainly a layer of security because the footage is being sent out of house by the studio. Many times false titles are used and the low quality footage for the rough cuts has a number of burn-ins all over the image including the recipients name so that if it leaks it’s very obvious where it came from. For AAA titles the tapes were kept in a locked case inside a locked room inside the media vault (which itself was locked) and one time our offline copy of the footage was delivered on VHS and had been turned black and white. Another time the tapes weren’t allowed to stay on site so each morning the studio would messenger over the tapes and each evening the tapes would get messengered back.

[Charlie Austin]

[Andrew Kimery] “Charlie, do you not work with an external monitor? “

Not when I’m cutting. Usually turn it on for client review etc. More a function of how my bay is set up than anything else. I do like the single viewer in X though. Even though it exists now I never use the source viewer, and kinda wish I had single viewer functionality in other NLE’s… That’s the fun of cutting in multiple systems… no matter which one I’m on I always miss one or more features from another.

————————————————————-

~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Charlie Austin]

[Andrew Kimery] “for major films and for those there is certainly a layer of security because the footage is being sent out of house by the studio. Many times false titles are used and the low quality footage for the rough cuts has a number of burn-ins all over the image including the recipients name so that if it leaks it’s very obvious where it came from.”

That’s the case for what we do. Even if the pix are decent resolution, they’re defaced with traceable burn-ins and other tricks. Also, the studios have very stringent security requirements, inspect the facilities, require NDA’s etc. The TSA are pikers compared to these folks. lol

Mostly it’s the desire to remain employable that keeps people from leaking stuff. 🙂 None of the leaks I’ve heard of have come from editors. Like anything secret, leaks happen lower on the food chain… dub rooms etc…

————————————————————-

~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Simon Ubsdell]

[Andrew Kimery] “On previous gigs I’ve done a lot of shot replacement (show was mostly stock footage) and while I used the gang sync in Avid I also toggled source/record to A/B on the external monitor for shots that were had to tell side by side (like wide shots of oceans).”

For various reasons, some of which I can’t quite put my finger on, this job seems to be far smoother to do in Media Composer than anything else. The tools always seem to be just there where you need them … and MC is definitely not my favourite NLE generally.

Simon Ubsdell
tokyo-uk.com