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OT: How do you present work-in-progress?
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[Andrew Kimery] “Maybe there are other examples that you didn’t mention, but in the above example it sounds like you made adjustments to the clips prior to editing them into a timeline and that’s something that’s been doable in NLEs for a long time. Or am I misunderstanding the example you gave?”
Let me be clearer.
Adjusting the color of my clips – means that when I TAG them for re-call, that TAGGED range arrives with that correction. The correction is “general” to all NLEs – but how it integrates WITH range-based tagging to enhance the FCP X workflow is specific.
I both “correct” AND “trim” far less in the final – because I’ve often done BOTH simultaneously upstream.
And that saves me time.
Does that help?
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “The correction is “general” to all NLEs – but how it integrates WITH range-based tagging to enhance the FCP X workflow is specific.”
I don’t think that’s any different than attaching a LUT to a clip at the master clip level in Premiere so that any and all usage of that clip will always have the LUT attached.
I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles -
[Andrew Kimery] “The rare times I work with collaborators that can actually understand the rough cut process I’m nearly brought to tears.
“For me those times are VERY rare!
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[Walter Soyka] “Do you find this leads to a lot of re-work? Is there any work you actually save for that mythical state of Picture Lock?”
For the most part I save final color grading and sound repair till I’m sure the sequence I’m working on will be in the final cut. However I often won’t know what works without doing some work on a shot – if I need the content from a badly shot clip I won’t know if I can use it till i do the work of trying to make it look right. More so with sound – I need a line from someone but there was a crash in the background – if I don’t try to eliminate the crash from the track I won’t know if the resulting sound is usable.
As far as re-work goes, pretty much anything you do is a step in the right direction, and taking it further, based on feedback, is still quicker than not doing anything at all. You start with a rough mix for the rough cut and then keep improving the mix as you improve the cut.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
This is really a timely discussion for me, since I am putting together a piece to be shown at a dinner for an athletic hall of fame. Normally I do film for my own uses. I think a key conclusion of this thread, is make it as clean and watchable before showing it to the client, because the flaws will get their attention, not issues that you need advice on. So for me, no distracting artifacts like a time code running at the bottom. Fine tuning the color and massaging the audio can probably come at the end, but otherwise it should be as complete as possible. Probably saves time in the end and reduces the back and forth between the editor and the client. (I hope).
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On a music video I shot, edited and graded for an interstate client, the grade and image processing like slo mo optical flow or stabilising hand held was very much part of the work so it had to happen at the same time. It affected shot decisions and the whole look was integral to the pacing.
So when we had the final edit ‘lock’ the grade had already been done. This was possible in Resolve unlike other systems where the final would be output to go into Resolve or Baselight for grade. This is an enormous time saver for this type of work where the final finish can be achieved whilst editing. Being able to render out and upload h264’s and then final output of multiple renders from the timeline of DNxHR masters plus Vimeo and Youtube spec deliverables was easy given the ability of Resolve to setup a multiple render queue.
Interesting to me now is that work done on sound will now also translate into final work via the Fairlight page as I transition from the standalone Fairlight. No more AAF, OMF which throws so much work away or doesn’t allow pre processing like denoising to be undone when it has been overcooked.
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[Bill Davis] “Adjusting the color of my clips – means that when I TAG them for re-call, that TAGGED range arrives with that correction. The correction is “general” to all NLEs – but how it integrates WITH range-based tagging to enhance the FCP X workflow is specific.”
Bill, would you describe a bit more what you are doing here? To my knowledge (and I could be wrong), there is no source source-side correction in X for a browser clip. UNLESS you either open the clip up in its own timeline and do correction there – or – it’s a compound clip or multicam clip. The exception would be automatically-applied camera camera LUTs. So I’m curious what you are actually doing.
– Oliver
Oliver Peters – oliverpeters.com
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+1 But you just replied to Michael, not Bill.
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https://BretFX.com FCPX Plugins & Templates for Editors & Motion Graphics Artists -
[Oliver Peters] “To my knowledge (and I could be wrong), there is no source source-side correction in X for a browser clip. UNLESS you either open the clip up in its own timeline and do correction there “
I assumed Bill was using “Open in Timeline” from his description.
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
[Walter Soyka] “I assumed Bill was using “Open in Timeline” from his description.”
I’m assuming that, too, but hoping there was a better way. “Open in timeline” is a lot more work than the same function used to be in FCP7.
– Oliver
Oliver Peters – oliverpeters.com
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