Resolve XII…

[Walter Soyka]

[Andrew Kimery] “I was like, “Why can’t what I do in Color just apply like a filter vs rendering out new media?””

Yes, exactly, and if you tweak the edit after you color, maybe rearranging a section or two, extending some handles and adding a few new clips, your color session should see the differences between the timeline state you colored and the current timeline state, keep your existing work, and highlight new content/conflicts for you to work on.

Enabling bi-directional flow between apps without manual media management is core of what I’m so horribly floundering at conveying.

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Andrew Kimery]

[Walter Soyka] “Enabling bi-directional flow between apps without manual media management is core of what I’m so horribly floundering at conveying.”

That I’m 100% in agreement with.

[Walter Soyka]

[Andrew Kimery] “That I’m 100% in agreement with.”

The floundering?

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Andrew Kimery]

[Walter Soyka] “The floundering?
“

And the bi-directional workflow thing. 😉

I think I got a bit hung up on your working in parallel idea because every time you mentioned it I would have a mild panic attack envisioning how it would play out on the projects I usually work on. 😉

[Jim Wiseman]

Andrew, True, my major projects now involve using the Teranex to bump up SD analog Betacam and 3/4 and DV/DVCPro to 1920×1080 HD. Also do the color correction with the Ultrastudio 4K. Those units are for the 2013 nMP as they interface via Thunderbolt 2. Have the AJA LHi in the 2012 Tower. Like the flexibility there of using different versions of OSX. Could do the grading on a computer monitor, but I want it to be right for broadcast/cable, etc. if the need arises later. Hard to shake a broadcast background even if most of it will be seen on the web.

Jim Wiseman
Sony PMW-EX1, Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Pro X 10.2.1, Final Cut Studio 2 and 3, Media 100 Suite 2.1.6, Premiere Pro CS 5.5 and 6.0, AJA ioHD, AJA Kona LHi, Blackmagic Ultrastudio 4K, Blackmagic Teranex, Avid MC, 2013 Mac Pro Hexacore, 1TB SSD, 64GB RAM, 2-D500, Helios 2 w 2-960GB SSDs: 2012 Hexacore MacPro 3.33 Ghz, 24Gb RAM, GTX-680, 960GB SSD: Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 16GB RAM 250GB SSD, Multiple OWC Thunderbay 4 TB2 and eSATA QX2 RAID 5 HD systems

[Walter Soyka]

[Andrew Kimery] ” I would have a mild panic attack envisioning how it would play out on the projects I usually work on. ;)”

Mild Panic Attack or Not: The Debate

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Andrew Kimery]

[Jim Wiseman] “Hard to shake a broadcast background even if most of it will be seen on the web.”

I know what you mean. Do it right for b’cast and it will still be fine on the web. Do it just for the web an someone wants to b’cast it… probably have to do some things over again.

[Bill Davis]

[Walter Soyka] “Exactly! Wouldn’t you agree that having this capability in editorial context is an advancement?
“

Yes. Often all we need is a subset of the capabilities of a full blown MoGraph, sound, or color correction suite. Enough to do things fast and to a standard that meets or hopefully exceeds the clients expectations – knowing that all clients are not working to 100% of the Hollywood standard, 100% of the time. I can easily understand that Flame guys might have had access to the Glyph trick – but very few folks had the budget for Flame time! Now $299 gets you the same deal. Sweet!

–

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.

[Brian Seegmiller]

Actually if you hold down the tilde key it will disable the connections. Also, if you hold down the tilde key and option key and release it will disable it as well without holding the tilde key. You can also connect any clip to another clip by holding down the option and command key and clicking with your mouse where you want to connect to the storyline.