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Serious X Editing for Speed
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[Jeremy Garchow] “Unfortunately, I can’t help you with your Pr CS6 issue, apologies.”
No worries, it’s now a CC2015 problem which makes me think it’s a computer set-up problem.
[Jeremy Garchow] “But the fundamentals still remain in Pr”
Yeah. And today I am editing in both for different clients. There are certainly some things in PrCC that have gotten better and some things I would love to see in X. But nothing that makes me seriously pause and consider a switch. I simply prefer X as a better, faster and more creative way to meet my client’s goals. YMMV.
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
[Jeremy Garchow] “I really love how you can very easily “section” off areas of the timeline and move them freely without harming other sections of the timeline. “
Funny. I know you mean FCPX, but I would have actually used that exact same description in talking about Premiere Pro.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] ”
Funny. I know you mean FCPX, but I would have actually used that exact same description in talking about Premiere Pro.”I find it much easier in X.
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[Jeremy Garchow] “I find it much easier in X.”
I found it much easier in the EMC2over 15 years ago. The worlds first digital NLE had a feature called a “ripple wall.” This was a blue line that cut thru the timeline wherever you set it and any ripple operation to the left of the wall had no effect on anything to the right of the wall. If the ripple operations shortened the left side, empty space would appear in front of the ripple wall. A ripple that extended the left side would push the blue line with it. You could only have one wall at a time, but it was just a keyboard shortcut to toggle off and on and put it where the playhead was. It was a lovely feature I’ve never seen since. Back to the future.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “I found it much easier in the EMC2over 15 years ago. The worlds first digital NLE had a feature called a “ripple wall.””
That’s interesting. I never knew that. Walter Murch actually suggested something akin to this to Apple in the pre-FCPX days. His idea was in terms of collaboration. You’d mark off certain areas of the timeline and one editor could be working on one area only, while another editor on another workstation could work on a different section of the exact same timeline. Something like that exists in the current iteration of Lightworks.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Scott Witthaus] “you can simply grab a dissolve and move it where it works best at the transition point.”
just don’t call it an asymmetrical dissolve whatever you do. Then everything goes mad.
https://ogallchoir.prosite.com/
producer/editor.grading/motion graphics -
[Oliver Peters] “You’d mark off certain areas of the timeline and one editor could be working on one area only, while another editor on another workstation could work on a different section of the exact same timeline. Something like that exists in the current iteration of Lightworks.”
Something like that, or at least the idea, used to exist buried in the FCP X code. “Guards”. It’s been removed. Will it return? who knows…
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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”~ -
[Bill Davis] “whether or not a 50% time savings is possible”
It’s interesting most of these discussions center around alleged speed advantages during timeline-oriented editing operations — as if that was all delivering a video product consisted of. Maybe that’s understandable since historically that’s all editing software could do.
With broader capability this evaluation becomes more complex. E.g, what if an FCP X editor needed to do spectral audio correction? If he spends lots of time tweaking with the EQ when a Premiere user can use Audition, does that make FCP X slower? Or is that just saving cost not time because the FCP X guy can buy SoundSoap or Izotope?
OTOH what if you have a big documentary with 50 hrs of material. I have personally seen cases where Premiere editors spent weeks viewing the material before importing, copying favorite clips into folders and making hand-written timecode notes. They are technically not editing since it hasn’t been imported, but it is nonetheless time expended. That task is often performed by the assistant editor, so maybe it should be counted.
With FCP X you could import the whole thing and do the initial pass in skimmer marking range-based favorites, rejects, keywords and even notes. That is a gigantic improvement; I’m tempted to say 10:1 depending on complexity. Or do we just say the Premiere guy can go buy CatDV so it’s only saving cost not time?
In this PBS interview, documentary editor Colin Nusbaum stressed that “a piece of footage… is always more useful when it is categorized and can be found in more ways or places than one”: https://www.pbs.org/pov/blog/news/2014/05/how-to-survive-as-an-assistant-editor/
How broad — functionally — is the scope of the performance comparison, and how does it vary based on project size and complexity?
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I think Michael’s point is most valid and the example that Oliver used can be done in FCP X as well (to get back to the original issue).
I prefer FCP X. I feel that I can edit faster with it. I also have edited in Premier Pro and finished 2/3 of a project in the time it took another editor to do 1/3 of the project. Big deal! Tools are tools. I can swing a hammer but I doubt I could approach the ability of even an apprentice carpenter.
The anti-FCP X debate is tiresome.
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[Joe Marler] “How broad — functionally — is the scope of the performance comparison, and how does it vary based on project size and complexity?
“I think this is an argument that begs to be quantified, but is in fact broadly unquantifiable.
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