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The NLE that keeps moving forward?
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[Franz Bieberkopf] “If you by “B-roll” you mean “non-sync” and by “narrative” you mean “sync” then I think I understand you”
Thank you for the translation
[Franz Bieberkopf] “and so strictly speaking there’s no patching”
Absolutely correct
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
yep, I largely work the same as you. I gave an example to david ages ago – basically I use tabbed sequences with string outs as scrubbable bins, cut and lift up the tasty bits and copy and paste into master sequence type thing.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Morten Carlsen] “I even had my own skimmer in PPRO before they added
hoover scrub or FCPx came about. I had that programmed via apple script and system events. “eh? that sounds intriguing – would you like to expand on the methodology? am curious.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Charlie Austin] “I don’t really know what folks at other places are doing, I’m kind of on a little island here, though I’d imagine Avid folks are probably sticking with that, and 7 folks… no idea. 🙂
“I actually know of a cable Network promo Dept. that is switching from Avid to Premiere, of all things. The only other major switch I know of is a Games House (primarily) going from 7 to Premiere. Most everything else big that I touch seems to be just where it was two years ago. I know more individuals moving towards Avid than I do Premiere–or at least saying they are going to do so–and you and John D. make up the X Factor.
[Charlie Austin] “The biggest hurdle to getting people onto X, IMO, is all the crappy feelings and FUD left over from the initial release. I still hear the iMovie Pro comments all the time. It’s really too bad, because once you get past the “it’s different and I’m confused” phase the app is amazing.”
I think you are quite right about that. I hear people talking about it like its a monster baby with three heads. When things settle down (and maybe a few things are added) it will become about style, approach, and taste. Eventually it will come down to mindsets, and the choice will be more a reflection of someone’s thought processes and approach. Hopefully, we can get to the point where we consider ourselves fortunate to have so many approaches.
[Charlie Austin] “I think about how X works is when I find some new crazy feature that makes my life easier. That happens a lot,”
Weirdly, I’m having the same experience with old, crusty Avid. Since we last parted, its improved some, but more importantly, I’ve grown as an editor and am now rediscovering it in a new light. This whole period, has been quite exciting, actually; and now that I’m down the road some from when it all happened, I’m grateful that it did.
[Charlie Austin] “The next year or so should be interesting…
“Definitely.
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[Aindreas Gallagher] “yep, I largely work the same as you. I gave an example to david ages ago – basically I use tabbed sequences with string outs as scrubbable bins, cut and lift up the tasty bits and copy and paste into master sequence type thing.”
I’m interested if anyone who is now happily working in FCPX also worked this way in Legacy. It’s a technique I used to use when I had a LOT of source material but I didn’t like doing it very much, perhaps it’s a factor in whether you can get on with FCPX or not?
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
Steve,
I’m actually collaborating on a secondary project right now – he’s cutting in FCPX and I’ve had him set up the project after my model.
He’s still in early stages, but he’s got all the raw material set up this way.
I may post some thoughts further in the process, in the new year.
Franz.
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[Steve Connor] “[Aindreas Gallagher] “yep, I largely work the same as you. I gave an example to david ages ago – basically I use tabbed sequences with string outs as scrubbable bins, cut and lift up the tasty bits and copy and paste into master sequence type thing.”
I’m interested if anyone who is now happily working in FCPX also worked this way in Legacy.”
Me.
I’ve said this before but FCP7’s only way to look at a massive amount of footage and shots was to put everything is a sequence so that’s what we do. Unless, of course, you double click your way in to infinity one clip at a time.
It works, but it’s highly inefficient, especially when the project goes dormant for 6 mo., then all of a sudden the client calls back and needs some re-edits. Since the timelines aren’t tagged in anyway, you have to sort of remember what was used and what wasn’t; what was deleted and what wasn’t.
People will say that this is because FCP7 is open, I will say because there was simply no other way to do it and wasn’t necessarily by design, but more by default.
FCPX changes all of that, and for me it’s for the better.
Jeremy
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[Franz Bieberkopf] “I’m actually collaborating on a secondary project right now – he’s cutting in FCPX and I’ve had him set up the project after my model.
He’s still in early stages, but he’s got all the raw material set up this way.
I may post some thoughts further in the process, in the new year.
“I’m sure that will raise some interesting points, look forward to it
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
to be fair steve – you’ve cut long form features, in FCPX – I’m not speaking to my work practise as anything significant right?
but as an example, working on the olympics, I found string outs in bin sequences basically a life blood under the gun.
that said – yes, FCPX feels somehow cramped to me personally. I guess that – look craig slattery has made, for me, the clearest workflow arguments for FCPX – of all the people saying it short circuits footage interrogation, he is the one really laying it out. I totally buy that.
and yet I find I don’t have room in it somehow? A lot of it boils down to it being a single window brick interface. basically I need somehow, in my head, to have multiple sequences available to me on screen – not through that wonky menu push out from left thing. apple is basically doing a card shuffle thing there – swap one for the other.
Again – I just finished a half hour doc on the ryder cup – as you do, running up to picture lock, I parked and duplicated edits before large last minute client revisions – some of the later ones were more cleaned up, wiping away disabled clip choices. Basically I like to feel they are all right there before me to kind of scan and think about – not locked in an unseen sequence organiser that you have to invoke, that slides out to take over the bottom half of the screen.
that to me is apple saying – you have left an editing project, and now enter another editing project. hence them calling them projects as opposed to sequences really.
but in many cases there are small shades of grey between sequences – I personally need them near by, semantically and visually.
so that fundamentally jars for me in FCPX. but – thats small beans on the whole, still – I do find it a problem though.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “Again – I just finished a half hour doc on the ryder cup – as you do, running up to picture lock, I parked and duplicated edits before large last minute client revisions – some of the later ones were more cleaned up, wiping away disabled clip choices. Basically I like to feel they are all right there before me to kind of scan and think about – not locked in an unseen sequence organiser that you have to invoke, that slides out to take over the bottom half of the screen.
“Fair enough, if that’s how you like working then FCPX as it stands doesn’t work, however I’m starting to use compound clips as sequences, now the project bloat has gone and they save to the event viewer. Having them skimmable in the Event viewer and being able to edit from sequence to sequence easily works very well.
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure”
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