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OT: How do you present work-in-progress?
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[Oliver Peters] “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.”
Not quite sure why’d you’d want to. .
Fixing issues to get to “correct” is the goal. Correct lands, and you do your timeline grading from there.
It’s consistent with the X convention of metadata always flowing downstream and gaining adjustments along the way.
You can open the clip again and re-adjust it if necessary – and you can strip the “flowed in”correction entirely if desired and start over if you really want to.
Makes sense to me.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “That’s my typical “post field shoot” process.”
Thanks.
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “Not quite sure why’d you’d want to”
For me grading is about context and shot-to-shot continuity. For instance, I might grade the same shot differently in two different sequences. If I add a base grade to the clip, I will want to make adjustments to it, if I don’t think it’s a good match when I cut it into a sequence with other shots. Since I can’t access those source-applied color board settings in the timeline inspector, then I’m forced to add a grade on top, which might not be the best approach. If you open the clip again to readjust, you can’t compare that easily to the clip before and after while readjusting the source setting.
– Oliver
Oliver Peters – oliverpeters.com
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I think the color grading process is somewhat determined by the types of projects you work on. For example, I’m often working on projects where 1-2 terabytes of 4K b-roll has been shot. With that volume of material it would be a waste of time to prep it all with a base color grade.
So for those projects I only apply color work to the final sequence.
Other projects can also involve massive amounts of b-roll and interview but If i make string outs of everything i’ll add a default LUT to virtually everything because it can be done so easily in the timeline.
I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles -
[Herb Sevush] ” I hire a DP precisely because they know how to get a “pleasing” image in 709, no grading necessary. “
As a new Colorist (a few years in ) I stood by the DPs work and fought with Directors (who usually wrote and bankrolled the feature) on this matter.
I held ground when they wanted to do some complete color changes when it didn’t make any sense whatsoever.
I also avoid the LUTdites 🙂 -
[Oliver Peters] “Since I can’t access those source-applied color board settings in the timeline inspector, then I’m forced to add a grade on top, which might not be the best approach. I”
But that’s precisely why I like the X approach.
The base grade arrives with the clip. Anything I add in my storyline just effects that unique use. So starting from “problems corrected” seems smart.
If the base grade wasn’t smart – or I just want to “grade now from ground zero” – it’s simple to strip the upstream grade off and work from scratch.
It’s conceptual, I suppose. I think of Browser grading as “correcting to normal” and storyline grading as the stage where shot matching, looks application and creative grades happen. Two different things.
But whatever. As long as the editor can get where they want to go – It’s all good.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “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.”
Now I am curious. How is your method different from applying a master clip effect in Premiere Pro and batch pasting that master clip effect to 10,20 or even 30 clips in Premiere Pro’s bin? You can delete or tweak the master clip effect for each clip separately. A quick video tutorial might help demonstrate why the FCPX method is better for color correction.
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[andy patterson] “A quick video tutorial might help demonstrate why the FCPX method is better for color correction.”
Cool your jets Andy, no video tutorials needed here. Bill didn’t actually say that the FCPX method is better than PPro, he’s just talking about his own personal workflow.
Not everything on here is a sleight against PPro that you have to add balance to 🙂
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[Steve Connor] “Cool your jets Andy, no video tutorials needed here”
Agreed. Let’s not devolve the discussion into an FCPX vs PPro thing. It’s about preference. Putting on my colorist’s hat, it’s a process I generally dislike, because it causes me more work in the end, especially when it’s someone else who did that initial grade. However, wearing my editor’s hat, it makes a lot of sense. It really just boils down to your own working habits and what makes sense for your way of working.
– Oliver
Oliver Peters – oliverpeters.com
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[Steve Connor] “[andy patterson] “A quick video tutorial might help demonstrate why the FCPX method is better for color correction.”
Cool your jets Andy, no video tutorials needed here. Bill didn’t actually say that the FCPX method is better than PPro, he’s just talking about his own personal workflow.
Not everything on here is a sleight against PPro that you have to add balance to :)”
Cool you jets Andy?
Really!
I never said he was bad mouthing Premiere Pro. That is something you read into. Shame on you! Keep in mind I did not comment on this thread until today.
Having said that Bill statements are often laced with that is the beauty of X’s approach or something similar. You can see it in this thread as well. That type of wording implies thee is a benefit to FCPX VS other NLE. With all of Bill’s comments describing FCPX as working with X, Y and Z I was hoping to see something beneficial as a FCPX users. I was not sure if there was more to it. That is why I stated a tutorial might be helpful. I am new to FCPX and I thought maybe I was missing something but it doesn’t sound like I was.
You could simply have stated.
“There is no need for Bill to make a video because FCPX and Premiere Pro can do the same thing more or less”
You could have made a simple comment like the one above. Having said that did you know Premiere Pro can do the exact same thing as FCPX?
If not isn’t it good for everyone to be on the same page as far as what the other NLE can do? I think that is what the forum is all about. After all has been said and done we now know FCPX and Premiere Pro and I imagine Avid can allow Bill to color correct they way he likes to. What is wrong with letting people know Premiere Pro (Avid might as well) can do the same thing?
[Bill Davis] “Using X has very much changed my approach to the entire video production process.”
Perhaps all NLE in the year 2017 might allow Bill to change his approach from when he used FCP 7. I think in the year 2017 most NLE can do a lot of the same things. Having said that FCPX may seem light years beyond FCP 7 but so would all of the of the NLE as of 2017. Technology In general has change the way we all edit.
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