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The Honda Ad Timeline
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I’m here I’d anyone wants to ask or snipe away!
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[Thomas Carter] “I’m here I’d anyone wants to ask or snipe away”
The big question for me would be… where’d you get those socks!? lol
Very nice job man. 🙂 And kudos as well to whoever wrote that player script thingy!
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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”~ -
Hey Thomas,
I read your workflow article here.
Great article, BTW. I never thought of using compounds and roles as a way of replacing offline/online clips. Cool idea.
My question is, Where did you get your “Blackmagic AJA recorders”? 😉
And a slightly more serious question, couldn’t you have just recorded the playback as ProRes Proxy and save the step of transcoding in Compressor?
Andy
https://plus.google.com/u/0/107277729326633563425/videos
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[Thomas Carter] “I’m here I’d anyone wants to ask or snipe away!”
Nice job! Could you go into some detail about the audio that is mirrored above the storyline for the alternate version of the spot? Did you build this as connected clips – that fell under the timeline – and then manually shift them up? Or did you tackle this in a different fashion?
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Thomas Carter] “I’m here I’d anyone wants to ask or snipe away!”
People often talk about when FCPX’s “Cold Mountain” moment is going to arrive, and for me personally, this is it. I work in short form, and I found the whole entire Honda package, from the production design and value, to post, to the interactive presentation to be a collaborative effort that is very inspiring. From my outside perspective, it feels like this plan really came together on many levels, and I feel that this type of edit, while possible in probably any NLE, really shows how powerful X can be in organization, not only in the Browser, but also in the timeline, and how that organization informs the edit.
Thanks for being open and honest about your workflows and experience and thanks for showing up and asking questions.
I guess the one question I keep coming back to is, why shoot on film? This seems like a perfect digital acquisition candidate. Perhaps that’s more of a production question, but did you have any say or influence as to what medium was chosen for acquisition?
Jeremy
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This is the perfect example of what the freedom of the X timeline buys you.
The concept is out of the box, and the editor thought out of the box to cut the way he did.
Very impressive.
The thing is, Apple said from the very start that their intent was to keep people from having to scroll up and down so much.
Think about it, the only time you need to scroll up and down a lot, is if you have a project with many layers. I f you have a project like that, it’s big : )
If you have a simple project, there is not much to scroll.
They were aiming at this type of project from the beginning. At least, it was clear to me that they were.
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Maybe I’m missing something crucial, but the idea that this timeline is an advance over fixed tracks for audio seems incomprehensible. I get that audio is above. I get the usefulness of roles. But anyone coming from outside who wants to understand how all the audio elements of that timeline work together would be in for an intense study, vertical moment by vertical moment. The editor himself must have a steel trap for a memory to have an overview of his audio. If I constructed a timeline like that, and came back to it after a week’s hiatus, I’d have to look at it for a god-awful while to figure out what I’d done. OTOH If I look at a tracks timeline after a week, I immediately get a quick overview. If I want to tweak something I immediately know where to look. It seems to me that the whole argument that X is a great way to edit complex audio is contradicted by the timeline’s visual appearance of disorder. Color coded roles would seem to make things slightly easier but not by much.
So I don’t get how this is an advance over fixed track timelines for audio editing.
David
https://AllinOneFilms.com -
[David Cherniack] “anyone coming from outside who wants to understand how all the audio elements of that timeline work together”
Maybe I’m missing something, but I didn’t see anything in the article about anybody else coming in on the edit. The whole point was that there was no time for anything like that anyway. He was under a tremendous time crunch.
It was about speed and organization as much as anything else.
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[David Cherniack] ” Color coded roles would seem to make things slightly easier but not by much.
So I don’t get how this is an advance over fixed track timelines for audio editing.”
Agree on the need for some sort of color coding, but it’s trivially easy to see what’s what in an X TL even if you’ve never seen it before. If Roles have been properly set, it’s one click to see any role or group thereof. If the Roles haven’t been set, it’s not the softwares fault, any more than if it were an Avid timeline that had clips thrown randomly on every available track.
I come from an audio background and spend an inordinate amount of time editing audio for my spots. Often very complicated/convoluted layers of SFX, assembling dialog from random words and phrases, bending music to my will… lol
I’d rather do it in X than anything else, even, to some extent, a DAW. Especially layering SFX to picture. Seriously.
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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”~ -
[Charlie Austin] “I’d rather do it in X than anything else, even, to some extent, a DAW. Especially layering SFX to picture. Seriously.”
I believe you Charlie. But my mileage does vary 🙂
David
https://AllinOneFilms.com
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