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So where are we in the game?
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[Marcus Moore] “I think a force-relinking of the media obviously comes with several caveats- but it is necessary from time to time.”
Another area is external color grading sessions, where XML roundtrips are often not possible. The graded footage is usually shorter in duration.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
“Because if it would let you do this, this would probably screw up your edit anyway. And I think that’s a good thing.”
A much simpler and more sensible way of saying what I was trying to say.
Many of us who succeed with X for day to day work have learned to move past what it isn’t and enjoy what it is.
What if “more re-linking please” turns out to be the new “we need PIOPs!!!” and we end up with a pound of complexity to gain a few ounces of comfort?
Just learn the software and use it.
By all means make all the feature requests you like.
But telling the architects how to build the building -if you’re not a qualified architect yourself – is pretty much how you end up with buildings that collapse.
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.
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[Ronny Courtens] “and then you blame FCPX for not being able to re-import media that you have screwed up with XMP ID? Okay…”
Can other NLE’s handle this situation – yes. Can FCPX handle this situation – if the answer is no, then that’s a weakness in X. Part of a software’s value is in helping you overcome your own, or your clients, stupidity. Pointing a finger and blaming someone else for not doing things properly may be very self satisfying, but it doesn’t help you solve the problem once it’s happened. Preventing problems is always to be preferred, but sometimes you have to solve the problem you have.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Another thing that prevents me from using FCPX as a professional, is the inability to use custom sequence settings, e.g.. 1024 x 768 (yes I know there is a work-around, but it is cumbersome).
I should also mention the lacking ability to keyframe color effects. Just needed that again today, and Premiere CC was there to answer my demands…
– No Parking Production –
2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial
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I have never had anything so catastrophic…relinked many times…never realised it could go so pear shaped
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[Bill Davis] “What if “more re-linking please” turns out to be the new “we need PIOPs!!!” and we end up with a pound of complexity to gain a few ounces of comfort”
I will continue my apologies to the FCPX community… but in my defense, Apple could have implemented PIOPs more simply than they chose to.
[Bill Davis] “But telling the architects how to build the building -if you’re not a qualified architect yourself – is pretty much how you end up with buildings that collapse.”
Yet ultimately architects design buildings for the people that inhabit them.
But to your point, with feature requests, this means not implementing exactly what users request (PIOPs, re-linking, whatever), but rather implementing what underlies the users’ request (not easily losing markers, systemic media replacement, etc.).
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Morten Ranmar] “Another thing that prevents me from using FCPX as a professional, is the inability to use custom sequence settings, e.g.. 1024 x 768 (yes I know there is a work-around, but it is cumbersome).
I should also mention the lacking ability to keyframe color effects. Just needed that again today, and Premiere CC was there to answer my demands…”
Uh, a friend who does stage show iMAG commonly has to produce for content across 3 screens has a simple folder of alternate size still graphics up to 3072×1024.
Drop one of those “alternate raster” graphics into a fresh X storyline, and it sets the project resolution accordingly.
You feel thats difficult? Well, OK.
Color keyframing yep. AFIK, X can’t do that.
It can, however color correct via range selection. And you can that in secondaries and store the results in the Event Browser, so you only correct once, and then can use that in as many projects as you like – so I think the way X handles that is significantly BETTER than how most NLEs do it. Yes, I suppose it’ wouldn’t be as useful for something like a shooter walking in and out between tungsten and daylight scenes with a camera on auto. But good shooters don’t often do that.
So for me, a keyframed color balance is a pretty rare beast.
But bottom line, if you’re unwilling to learn X to get all the amazing advantages of it – just because it can’t do ONE particular function – then that’s your call.
Hopefully, whatever NLE you prefer will someday catch up to all the other cool ideas that are driving more and more editors to explore it.
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.
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[Walter Soyka] “[Bill Davis] “What if “more re-linking please” turns out to be the new “we need PIOPs!!!” and we end up with a pound of complexity to gain a few ounces of comfort”
I will continue my apologies to the FCPX community… but in my defense, Apple could have implemented PIOPs more simply than they chose to.
“Walter, you or anyone have NO apologies to make. You were among quite a few who I recall arguing that PIOPS were a “feature” that no editor could live without. You surely weren’t anywhere near a lone voice.
Plus, you’ve always been even tempered and fair. And your analysis of things has always been extremely useful.
Apple did it the way they did it. For good, or bad. And so it goes…
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.
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This has started to puzzle me. I import as original/optimised media (latter is recommended by Apple) and have render set to whatever but I don’t want to compress hi rez to pro rez and then compress and “uncompress”.
I think being able to set sequence (sorry “project”) settings is imperative.
And changing the names was annoying at first.
What is the reason behind calling a Project an Event and a Sequence a Project? Different for differents sake?
Makes no sense to me…. and made getting my head round it all much harder.
?/
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[Bill Davis] “It can, however color correct via range selection. And you can that in secondaries and store the results in the Event Browser, so you only correct once, and then can use that in as many projects as you like – so I think the way X handles that is significantly BETTER than how most NLEs do it.
Maybe I’m not understanding what you are saying but it’s that just saving a custom filter (which FCP Legend, Avid and, I assume),PPro can all do)? And in Avid (and maybe PPro, I don’t know) you can apply a CC effect that spans multiple clips (maybe even the whole sequence) by placing it on an empty, top video track (as opposed to FCP 7 where you had to apply the filter to each clip).
[Bill Davis]
Yes, I suppose it’ wouldn’t be as useful for something like a shooter walking in and out between tungsten and daylight scenes with a camera on auto. But good shooters don’t often do that.”It can also be useful when fixing footage that was shot outside on a day with clouds rolling in and out (causing rapid exposure changes) or a long zoom that starts out properly exposed but ends up improperly exposed at the end of the move. You can also use it for creative effect (like those allergy commercials where everything is dull until they take the allergy pill then they would gets all bright and colorful).
Granted similar results could be obtained from grading multiple instances of the same clip differently and cross fading between them but that can be an inelegant solution.
[Bill Davis]
“So for me, a keyframed color balance is a pretty rare beast.”For you it might be a pretty rare beast but for Morten it sounds like something routine. What one person finds useful but another person finds mundane largely depends on what each person’s specific workflow needs are.
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