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The Honda Ad Timeline
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[tony west] “Maybe I’m missing something, but I didn’t see anything in the article about anybody else coming in on the edit. “
Based on the article and the way the Roles were assigned, I’d be willing to bet that anybody could open up the TL Index for that project and figure what was where in about less than 10 seconds. It’s true of my projects, as I’m sure it is of many others. Roles=Tracks in this regard. The fact that everything isn’t rigidly aligned bothers people, but it has no effect on “readability” if you know how to read it. Chinese looks like random squiggles to me, but not to someone who can read it. 😉
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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”~ -
[David Cherniack] “I believe you Charlie. But my mileage does vary 🙂
“🙂 Of course. And I do admit it took a while to get used to.
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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”~ -
[Andy Neil] “couldn’t you have just recorded the playback as ProRes Proxy and save the step of transcoding in Compressor?”
That would have been nice but the recorders they were using were only able to do HQ. They had some old kit out there!
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[David Cherniack] “Maybe I’m missing something crucial, but the idea that this timeline is an advance over fixed tracks for audio seems incomprehensible”
The usefulness of ‘trackless editing’ reaches far beyond the visual metaphor. But quickly to address the visuals, I did this to divide the day and the night of the interactive story. With one quick lasso I could enable, or disable either side of the edit, while I worked on the other.
But the real advantage is that all the SFX (and the daytime shots) are ‘connected’ to the exact spot they are supposed to be. To swap 2 shots around (or groups of shots) was as quick as dragging them from here to there. In one move, the night shot, corresponding day shot and all the sfx associated with both these clips all went with it.
No need to check and select all the clips I needed. No juggling to free up space on the audio tracks. It’s just done.
While you could achieve the end result with a track based NLE, FCPX allows me to do all the boring “admin’ stuff more quickly and easily, so I can get on with actual editing. I’m able to see the results quicker and therefor move forward faster too.
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Digital would have been quicker! But the Director and DOP shoot all their stuff on film and didn’t want to compromise for schedule reasons.
So why do they shoot on film? Because they still feel it looks better. And while I would always stump for digital work flows, I’d agree.
The director and do did this music video together just before Honda, it was film too and looks amazing!
https://vimeo.com/102826203 -
[Thomas Carter] “[Andy Neil] “couldn’t you have just recorded the playback as ProRes Proxy and save the step of transcoding in Compressor?”
That would have been nice but the recorders they were using were only able to do HQ. They had some old kit out there!”
But why go through Compressor at all when FCP X will do it for you while you’re working?
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
BTW, Tom PM’d me that he’s having issues responding here from London.
His first attempt, he got the Moderator Block that many of us have seen when we type something like the word spec ialist – and it gets flagged because the trade name for the ED med is buried inside the word.
And it also seems it’s taking hours for posts to reflect to him.
I’ll let the group know if the problems persist. Right now it’s 5:30am Phoenix time and I’m going back to sleep.
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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[Charlie Austin] “I’d be willing to bet that anybody could open up the TL Index for that project and figure what was where in about less than 10 seconds.”
10 seconds? Shirley you exaggerate. Maybe you mean 10 seconds in order to know what’s going on at any give moment in time by clicking each vertically aligned clip to find out its role. OTOH the fixed track system allows that to happen at a single glance and also allows ‘anyone’ to see clearly see what related audio is in play before and after in the same glance. So 10 seconds vs 1 second…wait..my single glances are faster than 1 second…they’re faster than a speeding bullet…
https://www.youtube.com/watch?v=6EWubLFVgRc#t=43
David
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[David Cherniack] “by clicking each vertically aligned clip to find out its role.”
You have never once actually used FCP X, have you? Nor have you read the article?
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Thomas Carter] “While you could achieve the end result with a track based NLE, FCPX allows me to do all the boring “admin’ stuff more quickly and easily, so I can get on with actual editing. I’m able to see the results quicker and therefor move forward faster too.”
This has been debated here endlessly so I won’t go into it. I get there are advantages to the magnetic timeline in some scenarios. I also get that it doesn’t suit all editing situations better than anything else. The visual overview of the organization of elements seems to me to be one of them.
David
https://AllinOneFilms.com
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