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OT: How do you present work-in-progress?
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[Oliver Peters] “To my knowledge (and I could be wrong), there is no source source-side correction in X for a browser clip.”
You just select “open clip” and you can correct that source clip. It’s fast and easy.
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For the most part I’m showing them a completed product. Sound, color, music, everything.
I’m prepared for them to make changes, but I feel I’m being hired for my creative vision so that’s what I’m giving them.
Side note, that’s what made me really like X in the first place. It fits my style of showing completed work because that far into it, if they want changes you are moving a lot more pieces around.
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[Tony West] “You just select “open clip””
Right, that’s “open in timeline”. The terminology changed in the newer version. Unfortunately, when you cut that clip into your sequence, you don’t see the clip-based correction within the color board any longer, since it’s a separate correction from sequence-based correction.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “Right, that’s “open in timeline”. The terminology changed in the newer version. Unfortunately, when you cut that clip into your sequence, you don’t see the clip-based correction within the color board any longer, since it’s a separate correction from sequence-based correction.
“And, if you change the color in the Browser clip, it doesn’t change the clip(s) on the timeline, and vice versa.
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[Walter Soyka] “A rather broad question, but how do you present your WIPs to clients or stakeholders?
“Another frame.io user here too. It’s been great for us as there is no account that our clients have to sign up for, it’s very easy to use, everything is contextual, they can draw on it if they want, we can download an XML and put our comments right on our timelines, we can communicate back and forth through it saving some email exchange. Basically, it has removed a layer of interpretation for us. In general, knowledge the language of the medium is as high as it’s even been. It’s probably the YouTube effect. If there’s ins’t a YouTube effect, you heard it here first! The era of The Rough Cut Lady is waning.
Fortunately, most clients seem to be familiar with a rough cut, or versions with many caveats, and more and more clients are familiar with frame.io specifically which is great. I have a cheat sheet written up in case anyone asks how to use it. In the four-ish months we have deployed frame.io for out clients, I haven’t had to send the cheat sheet once, which is great.
We typically don’t polish too far, but we polish a little to make it presentable. I think finishing is one of the most dramatic parts of the process, after everything is professionally recorded, graded, mixed and voiced, it makes one last impression on the client when it goes from a ‘locked’ cut to the final version.
It depends on the job, but we typically send early versions or even teasers, to make sure we are going down the right path. If it’s a doc piece, we often send paper edit versions, with interview sting outs in rough order or content “buckets”, to get things going. More and more, we need to send transcripts OF EVERY EDIT (notice the allcaps) in order for legal to review. Every single rough cut, or version we send to clients, their legal team will quickly track it. This makes tools like Subvert, SpeedScriber, or Scribomatic nearly essential.
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[Oliver Peters] “Right, that’s “open in timeline”. The terminology changed in the newer version. Unfortunately, when you cut that clip into your sequence, you don’t see the clip-based correction within the color board any longer, since it’s a separate correction from sequence-based correction.”
Unsurprisingly Resolve gives you the most options. In the media page after import LUTs can be applied to the clips. this will carry into all sequences. All clip or just a group of clips from a specific camera or shoot can have this LUT applied. Alternatively when clips are in a timeline a grade can be applied to the whole timeline, or just to groups within the timeline. Also individual shots can have their grades copied to multiple clips. Of course all these can be changed or disabled easily.
Start a new timeline and cut material in? Just use ColorTrace to apply grades from another sequence. Or there are a lot of other ways to quickly and easily apply grades that will carry into the final and be fully adjustable. Getting close to a finish is more important than ever, especially with cameras often shooting various flavors of log. The flexibility of Resolve’s grade options will encourage editors to jump into Resolve either at the start of a cut or earlier in the edit than the traditional export of a ‘locked’ cut, just to create better WIP versions for clients, knowing that basic work will carry into the final without a whole start again approach to both picture and sound.
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[Oliver Peters] “Right, that’s “open in timeline”. The terminology changed in the newer version.”
You were using the old terminology of “Timeline” and I corrected it with the new one “Open Clip” For people new to X
[Oliver Peters] ” when you cut that clip into your sequence, you don’t see the clip-based correction within the color board any longer,”
You just hit open clip again from there and you do see it.
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[Oliver Peters] “”Open in timeline” is a lot more work than the same function used to be in FCP7.”
How so?
It’s 2 clicks. Was it 1 click in 7?
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[Oliver Peters] “Bill, would you describe a bit more what you are doing here? “
Sure.
Let’s say I have 5 “start and stop” shots from Camera A – all shot sequentially at one time and place.
On import, I’d take shot 1, and in the browser, invoke “Open Clip.”
Typically I’d take a glance at the audio tracks first to see what was recorded. If I see unused tracks, I’d kill them right there. Hopefully they’re fine and I can ignore audio till later!)
Next I’d open the scopes and color board and do my quick base grade. Mostly just exposure – pushing the highlight spikes to just under 100 – lifting the mids a touch, and getting the blacks near zero. Really just balancing things. If something obvious is wrong, I might crop to a face and Vectorscope a skin tone correction, but I just want a pleasing picture without major flaws.
Finally. I’ll take a second to set the clip’s Roles.
With that exemplar clip done, I’ll select the clip and Command C to copy the changes.
Then batch paste them onto the other clips. (This presumes it’s not exterior shifting light, obviously. More something like interior interviews.)
My “Reject pass” follows this, so from that point on, my expectation is that all the footage from that shoot will be useable in all my projects without additional adjustment needed.
That’s my typical “post field shoot” process.
Hope that helps.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Yep, but it’s been re-named “Open Clip” in the latest version of X.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.
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