Real time multi scopes in FCPX

[Bill Davis]

[Gary Huff] “Frankly, I was incorrect in my initial reading of your post (I blame the headcold I am dealing with). I thought you were pooh-poohing using scopes entirely, when re-reading made it clear that it’s not something you work with while you’re in the edit and instead save it for later. Which is absolutely fine.

So I apologize.”

Accepted.

Me too for my bristly rejoinder.

Moving on.

Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

[Gary Huff]

[Bill Davis] “So my mood has changed significantly.”

First of all, congrats.

Second of all, funny how that kind of news can pull a complete 180 on your day.

[Bret Williams]

Obviously.

[Gary Huff]

[Bret Williams] “Obviously.”
So if Leonardo Da Vinci had merely drew a rough, stick figure outline of what he wanted and then some unnamed individual came in a actually painted over the lines and made the artwork “polished”, who is the real artist?

[Douglas K. dempsey]

I like that Bret. MY own wife started out in journalism (for the original LIFE magazine in early-mid 70s) and the paper edit has been her stock-in-trade ever since. IF a transcript is in the budget, that’s what happens first, exactly as you described.

If there is no transcript, it’s pulling takes in FCP. So keywording a range works beautifully.

Of course in that workflow, the shots are not even looked at, because you’re going to assemble the track first. Then decide what you’re going to cut to.

And yes, as Gary says, somewhere along the line, the “radio play” you’ve been making is turned over to the craft of audio/visual filmmaking — with all the specialists you can afford, finessing all the cuts, transitions, audio and visual treatments and effects you can come up with to correctly reflect, reinforce and enhance the audio/interview content, keeping your eyes on the screen but your mind on the “story” or topic.

By the end, everyone who works on it feels they have contributed both Art and Craft, hopefully!

Doug D

[Douglas K. dempsey]

Ha ha, well we know from his sketchbooks he was the Artist all the way along; like many painters the sketches often read as more expressive and spontaneous, but then again “painting” requires by definition the finishing of a “colorist”!

That’s why the Inkers and Colorists for Marvel Comics negotiated up-front credits and eventual respect. The sketch may have mapped out intent, but until that calligraphy-like inking and color choice was added, you didn’t have a final product.

I have never heard any New York filmmaker treat any name-brand mixer or colorist (like Sound One’s Lee Dichter or Tape House/Goldcrest’s John Dowdell in my era) as anything other than an artistic collaborator. And what those guys wanted from you in return, as an Editor OR a Director/Producer, was guidance, intent, anything but “on the nose” instructions. The same treatment as a DP or an actor wants, really. An agreement on approach or shared aesthetics, followed by those specialists turned loose on the material.

I guess that is the context of my original (admittedly failed) analogy: the first job of an editor is not necessarily finishing, but trying to find the rhythm, “voice” and intent of the piece among an avalanche of material.

Doug D

[Gary Huff]

[Douglas K. Dempsey] ”
I guess that is the context of my original (admittedly failed) analogy: the first job of an editor is not necessarily finishing, but trying to find the rhythm, “voice” and intent of the piece among an avalanche of material.”

Yes, and in today’s market, one usually cannot merely be an “editor” and hand off the rough piece to someone to finish up. It’s, more often than not, all the same person.

And who is to say how much that finishing editor actually improved upon the original edit itself? On the rare occasions that I have been asked to put the “polish” on an edit, it has often involved actually fixing it.

[Gary Huff]

[Douglas K. Dempsey] ”
By the end, everyone who works on it feels they have contributed both Art and Craft, hopefully!”

The issue is that art is subjective and craft is not nearly as much. You either know how to do something or you do not.

But you can not know how to do something and spread the word that your mistakes are intentional “art”, even if that was not the case.

[Don Walker]

[Bill Davis] “Suffice it to say that my wife just got the call from a client on a nice, juicy 5 figure project that we’ve been working on for seven freekin’ months – saying they’re going with us and are ready to sign the production contracts. So my mood has changed significantly.
“
Congratulations!

[Bill Davis] “Self-employment is such fun”
Sometimes…….
I prefer being self-employed, but in all honesty, I am looking forward to Jan 1st, when I will start working full time, for my biggest client. Now if I can just talk them into letting me do my editing from my cozy home office!

don walker
texarkana, texas

John 3:16

[Walter Soyka]

[Gary Huff] “So if Leonardo Da Vinci had merely drew a rough, stick figure outline of what he wanted and then some unnamed individual came in a actually painted over the lines and made the artwork “polished”, who is the real artist?”

I’d argue both.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
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