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Tracks
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[Bill Davis] “That this doesn’t “work” for you is no indication that it doesn’t work for some of us”
/sigh
I said that in my post…but thanks, haven’t heard that one in a couple of weeks…
[Bill Davis] “You’ve clearly at ease with the idea of the “traditional” timeline where if something isn’t on the timeline, that is a single state representation of nothingness.
Cuz, in Legacy a blank spot on the timeline is precisely that. Nothing. And you can’t do a damn thing about it.In X, it’s something. (A gap clip, to be precise) As something it can take on attributes.It can be tracked, it can be accounted for. It can connect to stuff. When it’s nothing – nothing is possible except that it sits there.”
It gets exhausting responding to your posts Bill. I have more control over the timeline in legacy. I like it better. A LOT better. That’s all that matters to me. I asked a question, I got a thoughtful answer, I responded in kind.
Does it need further psychoanalysis and some existential gobbledygoop on top?
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[Andy Neil] “Every NLE has rules and functions that can’t be adjusted or worked around. You can’t put video tracks into the audio tracks area of Avid or FCP, nor audio in the video sections. Of course, you could counter with, “why would I WANT to?” but the point remains that those NLEs FORCE you into tracks, they force you into a particular way of compositing and editing.”
This seems to be arguing for arguments sake. FCS has a ton more flexibility and that is the only point that remains…”I can’t put an audio track in a video track”, I mean honestly…
[Andy Neil] “You talk about how you “have to create slugs and roles and compound clips if I even want to attempt to do ‘what I want’.” But if you want to export all the SFX stems for your project in FCP or Avid, you HAVE to organize them onto the same tracks. You can’t just tell your NLE to export only SFX regardless of where they are. It’s not extra steps in FCPX, it’s just a different workflow contingent upon the way the program is designed.”
How an NLE functions in it’s output is far outweighed on how I can create and the flexibility in my canvas. One of the functions I enjoy is duping a sequence spend the 5 seconds deleting unwanted tracks, binning the sequence with the appropriate tag. Everything is neat and tidy. And if desired I can choose to operate a different way…what you call “extra steps” isn’t locked into any particular way of doing things. Not so much with X. Which I don’t care for. That’s my personal preference, my thoughts are my own…
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[Chris Harlan] “Not quite true. It’s Black. And, frankly, the fact that I didn’t have to generate slug every time I wanted black was a godsend. It was always fun to watch someone coming from MC to FCP as they were just starting out, generating slug after slug to be used for black. I, personally, was thrilled to have a timeline smart enough to hold your place in time and auto-generate black.”
^ This
Not a moment goes by in X where I find things like this to truly appreciate in 7.
The irony is, I complained a bit too much with 7, and X really brought to light how well it brought home the bacon. And when I open her up now there is a whole new appreciation for her.
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Adjustments layers can be inserted easily within FCPX – just create an empty title with Motion. As titles render ‘down’ all other clips you can apply color correction or whatever effect (which makes sense) to all the clips below.
Andreas
Spherico
https://www.spherico.com/filmtools -
[Andy Neil] “I guess then as an alternate example, You can look at how effects are built in Avid, specifically when an editor is used to just creating add edits in filler and applying an adjustment effect to an entire section of footage.”
Oh, I completely agree. The Media Composer effects design is VERY long-in-the-tooth, but it has its pro and cons. I like the “adjustment layer” idea, but hate the difficult way you have to work when you stack filters on the same clip.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[tony west] “I could be on anything from sports to corporate to a Doc I just started shooting.”
I think the last part of your statement is a key dividing line in much of this argument and in how FCP X is perceived. I don’t mean this as a negative or disrespectful comment, but people who edit as a part of another job description (videographer, producer, director, reporter, etc.) value different features in an NLE than someone who edits full-time. I’ve frequently collaborated on edits with many talented “non-editors” and it completely baffles me how some of them developed their editing styles and workflows. Their results may be the same as mine, but the path to get their is wildly different.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Chris,
X can do that. Since a gap clip is a “thing” rather than “nothing” the database recognizes the entity and can manage it.
Simple as that.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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I don’t mean this as a negative or disrespectful comment either but being an editor makes you a better shooter because you know what shots you need.
A good editor knows that great footage make the project. If you start with crap it will be crap in the end.
So yeah, we baffle each other brother.
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[tony west] “but being an editor makes you a better shooter because you know what shots you need”
I completely agree. I’ve often said that every shooter should have to edit his own material at least once 😉
[tony west] “So yeah, we baffle each other brother.”
LOL.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[tony west] “I was working on FC 6, and I don’t have “normal jobs”.
I could be on anything from sports to corporate to a Doc I just started shooting.
For sports it’s typically the talent’s VO, nats (bat crack) the call of the game, music and maybe player VO
That under player highlights and graphics
What kind of projects do you work on?”
Half of my jobs are a kind of video reports (like some 15 minutes documentaries) on development projects that can verse on health, micro-credits, education and so.
The last one had ITWs in five languages and was delivered in English and Lao versions. They are basically the same contents, changing only subtitles and “upper thirds”, although some trimming is always needed because normally the local language takes a 20% longer than the English.
A nice intro and end and not much more. The end with pictures, titles, logos, etc may have from 8 to ten layers.
I de-noise all the picture and CC.Nothing special in the product, but the way i have to work is more sui generis.
When I start to edit I have no much Idea of how the final movie will look, and everything can be changed in the lat moment. Therefor I need to have in front of my eyes everything when I open my project.When I take a job, 90% of the times I have not just not any script but neither much info or directives on what I have to do apart of the subject and the need to please my client and the local authorities.
Some times a get a paper with few lines with a general idea on what my customer want; some time I get a ton of papers that my customer expect me to condensate in the film.
Normally my customers (UN agencies or NGOs) are based in remote areas and they have nobody to help me and fallow the production, so I have to go to the field and try to gather the information necessary to tell the story and shot anything it could help me with that job. I shot many things that at first sight may don’t seems related with the subject, but who knows?. For sure I won’t have the opportunity to go back there and shoot if I need something else.
later on I may be able to get some extra information later on from my clients through Internet, but no much more.
I need to get the ITWs translated on the field because back in town would be almost impossible to find translators.
Back home I have to try to put all that together. I write a draft text that together with the ITWs will make the spine of the story. I record a draft voice over at home, and I cover that with the pictures that more or less fit with the text but without caring much on the rhythm, trimming or selecting the best picture.
Then I send that to my customer (Vimeo) and I start a Ping-Pong of corrections and conforming (some times sharing screens with Skype).
The videos normally have not a very well defined target audience. They are for visibility and to tell to the donors and stake holders what have been achieved, so I have to try from a some time very technical and little appealing subject (micro-credits, the reform of the local administration..), to make a short movie that more or less anybody can fallow and understand. I have to try to avoid a lineal story which is the normal tendency of my functionaries customers. Thanks God the environment, locations, and the minorities I work with help to put a certain documentary ambience on the movies.
So for me fast editing is not a concern, but being able to see what is done and what remains to be done, and being able to move elements up or down, left or right, wherever I want in my time-line.[tony west] “A good editor knows that great footage make the project.”
I do not agree at all with this.
rafael
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