Resolve XII…

[Charlie Austin]

[Bill Davis] “You are definitely cutting something pretty unusual if an easy to execute combination of those capabilities can’t get you what you want. I’d like to see that project, cuz I’m having trouble visualizing the stopper here.”

Did you watch the video in my post above? It’s not unusual at all, it’s very common when doing sound design/dialog cheating. Say I have a shot of an explosion. The “boom” sound is a component of the video. But I want a reverse suckback sound, and some fuse noise to come in, and stop a frame or more before the first frame of the shot. There is no tail to this sound.

I may have dozens of lanes of audio, and I need to use comps and secondaries judiciously. I do not want to adjust the picture to accommodate the sound, I don’t want to make unnecessary comps, or create 2 secondaries, append gap, and connect them. Yet those 2 clips need to be connected to this shot if I want to move that bit and all its related audio.

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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Bret Williams]

So far this thing is s crash fest of epic proportions. Plus it wants we to “allow” DP connection about 8 times upon launch. Then I try to import a folder of media, crash. Import XML and it shows all the thumbs, then they disappear and it can’t find any media. Search, crash. Okay, ignore missing media, click multicam window, crash.

Where the hell is the zoom tool? I need my freakin zoom tool.

Playing back. Click earlier in timeline. Nope, it continues playing where it was or maybe it stops, but where it was, not where I clicked.

Highlight clip. F match frame. Matches to some other clip. ???

I need my zoom tool.

Try to adjust clip audio in timeline on fly. Nope. And can only adjust on fly if recording audio Keyframes. I don’t want Keyframes. Just want to adjust the volume of the clip during playback.

Pretty useless so far but I’ll keep crashing it and see if anything improves.

I still need my zoom tool.

[Bill Davis]

Well, if you’re going to establish rules disallowing the use of features in the software that address the problem, then OF COURSE you’re going to run into dead ends.

I understand the “I don’t want to use compounds or secondaries or whatever.”. But they were coded into the software in order to solve problems that other modes do not. So I have a hard time accepting the “It’s not my preferred way to work, so it’s the softwares fault.” concept. That would be like someone arguing that X isn’t an efficient editor, only to discover that person uses it exclusively in Position mode and NEVER uses the magnetic timeline. It’s just not how things are supposed to work.

Again, I’m not saying that the X construct is always superior in every case. And there are unique challenges it’s new thinking presents that have to be understood and worked around. AND the fact that Apple keeps improving it is a SURE sign it’s not all there.

But if it’s got the tools to do an operation, but an editor chooses not to use those tools. Then is that the software’s fault? Worth asking.

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.

[Lance Bachelder]

Thanks – user(me) error for sure.

It was at a Vegas premiere that I resolved to become an avid FCPX user.

Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1

[Charlie Austin]

[Bill Davis] “I understand the “I don’t want to use compounds or secondaries or whatever.”. But they were coded into the software in order to solve problems that other modes do not. So I have a hard time accepting the “It’s not my preferred way to work, so it’s the softwares fault.” concept. That would be like someone arguing that X isn’t an efficient editor, only to discover that person uses it exclusively in Position mode and NEVER uses the magnetic timeline. It’s just not how things are supposed to work. “

Huh?! I’m not saying anything at all about something being “the softwares fault”. I’m not talking about faults with the software. I’m simply pointing out that there’s another very cool and very easy way – that the software allows – for one to accomplish what I was talking about. If anything, I was illustrating the flexibility of “the software”.

I’m not sure how you read what I wrote as being critical of anything.

[Bill Davis] “But if it’s got the tools to do an operation, but an editor chooses not to use those tools. Then is that the software’s fault? Worth asking.”

It would be worth asking if it had any relevance to what was actually in the conversation. 😉

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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Aindreas Gallagher]

[Charlie Austin] “Is it ready to be the “main axe”, so to speak… I dunno. I’m not sure that’s the intent, but who knows…
“

sometimes I wonder what blackmagic are in it for, bar being in everything. They feel almost like google leveraging a core cash stream to spray themselves all over the place.

Premiere lately has gotten stick for bugginess (that said why you wouldn’t just sit on CC14 like a hen until things shake out is beyond me) but –
at least premiere is an existentially pertinent issue for adobe in terms of driving the digital cloud suite forward.

Blackmagic with their editing interpretation of resolve feels like Blackmagic with most iterations of their cameras. those cameras change and some drop away and blackmagic barrels on. But at least with the cameras people have universally laid down cash. Editing in resolve feels like a wheeze they don’t need to rely on anytime soon for anything in terms of reputation or income.
How are you supposed to go with that? Who’s to say they won’t start trying to wedge fusion nodes into the davinci node scheme because they had an engineer’s tequila party weekend? What’s actually at stake for blackmagic noodling for three or four years with an editing resolve bolt on? That maybe doesn’t go anywhere?

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Walter Soyka]

[Aindreas Gallagher] “Who’s to say they won’t start trying to wedge fusion nodes into the davinci node scheme because they had an engineer’s tequila party weekend?”

That sounds awesome. I think editorial, color and compositing belong together.

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

[Aindreas Gallagher]

[Walter Soyka] “I think editorial, color and compositing belong together.”

granted you’re a mad scientist Walter – but try pitching the total craft collapse of a century worth of editing, colour timing, and optical compositing into a single frankenstein node based application with a vaguely reliable editor released on a freemium model.

At some point the respective crafts have to call time. Then you have total french style supply stoppage. That has to be conceivable. It’s super complicated but it looks a lot like exploitation. A lot of this looks like strike breaking without the trouble of strike breaking. given everyone has ipads.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Steve Connor]

[Aindreas Gallagher] “[Walter Soyka] “I think editorial, color and compositing belong together.”

granted you’re a mad scientist Walter – but try pitching the total craft collapse of a century worth of editing, colour timing, and optical compositing into a single frankenstein node based application with a vaguely reliable editor released on a freemium model.
“

Is it possible he was being sarcastic?

[Walter Soyka]

[Aindreas Gallagher] “granted you’re a mad scientist Walter – but try pitching the total craft collapse of a century worth of editing, colour timing, and optical compositing into a single frankenstein node based application with a vaguely reliable editor released on a freemium model.”

I’ve written at some length here about how BMD’s business model makes me nervous: I’m sure it’s good for BMD, and it may be good for users in the short term, but it’s hard to compete with free and I think it’s salting the fields of future development across our industry. So many people here are excited about have a great free (as in beer) option, but maybe without thinking about what that free product costs.

As for craft collapse, that’s not quite how I see it. Look at color correction: there’s plenty of light roto and keying, and the best tools for that are in compositing applications. Look at compositing: getting plates to match requires color adjustments, and the best tools for that are in grading applications. Look at editing: some shots just won’t work without a little VFX love [link]. And everyone needs at least basic editorial capability.

Do you really see walled-off separate crafts? Look at your own sig: “promo producer/editor.grading/motion graphics.”

There are plenty of talented folks like yourself whose work spans traditional disciplines. Our tools have not kept up with this evolution.

Flame is 23 years old, and the idea is still ahead of its time.

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