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Tracks and Primaries: Question for FCPX Users
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[Steve Connor] ” Is it the lack of broadcast monitor output”
That’s one, but I think it’s coming so it’s not holding me back
Overall, it’s stability.
I need reliable tools, and my comfort level isn’t quite there yet.
Also, I’d like some better built in interchange, and I need a proxy workflow (reconnect). Not fcpx proxies, but being able to reconnect to higher resolution finish files from proxy files made elsewhere.
Don’t get me wrong, I’d like to start using it for certain things, but it’s still a bit young to me.
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[Jeremy Garchow] “I had to do this in a timeline in fcp7 to make any sense of it and get all the takes together. Its simply the best way to get this to work in fcp7 in a way that’s easily viewable from a bird’s eye view
It took the better part of 7 hours to get this all done, a lot of copying/pasting making markers/rearranging on the timeline.
“Jeremy,
It sounds as if you were working without transcripts. Is that correct?
If that’s true, you should be using Boris Soundbite or the older GET.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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[David Roth Weiss] “It sounds as if you were working without transcripts. Is that correct? “
The material was semi scripted.
I thought I mentioned that, perhaps not. Apologies.
I have a general script, no transcripts needed.
I’ll post a pic of the timeline on Monday.
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[Jeremy Garchow] “As you said, it’s the process of editing.
Jeremy,
I think you’re sort of side-stepping the question. It actually isn’t a hypothetical question, I really want to know how people work and how they use the primary.
I gather from your post that you’re working largely with scripted material and you primarily use dialog to structure – so in the example you gave (hypothetically edited in FCPX) it would have been all dialog with audition alternatives.
(… if I’m understanding correctly.)
Franz.
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[Tom Wolsky] “The primary is almost always audio driven, dialog, sound bites, narration, though by habit I don’t put narration on the primary …”
[Mark Morache] “My edits are generally driven by audio: narration, interviews and natural sound. … However, I don’t like to keep the narration in the primary storyline, …”
Interesting consistency, … Mark you talked about why you don’t like to have narration in the primary. Tom, are there other (practical reasons) or is it really just habit?
[Mark Morache] “Considering how easy it is supposed to be with the magnetic timeline, I frequently find myself pulling clips out of the primary and sticking them back in.”
Mark, do you feel like you’re going against the grain of the software here, or is it really just the mechanics of dealing with the assumed hierarchy?
Franz.
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Connecting the narration rather than putting it on the primary may only be habit. I haven’t experimented with it much on the primary. The few times I’ve used music on the primary I started by connecting clips to the the primary, but when I wanted to fine tune the edits, I converted them to a separate storyline so I had all the trim functions. I think I’ll try narration on the primary more.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
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[Franz Bieberkopf] “I think you’re sort of side-stepping the question.”
Of course. Perhaps this is better:
For me, there’s no formula to my edit. It comes, it goes, it changes.
What ends up happening is the primary (for me) ends up determining the length of the piece, but does not necessarily determine the pacing.
If the piece needs to be a certain length, the primary reflects that. (Editing spots, for example, I might start with a 30/60 second gap and move things in to the primary later as I rearrange/try different edits).
It is mostly audio driven, but not always.
There’s great keyboard shortcuts to move things in and out of the primary and leave a gap behind. The process is very fluid.
If it is a music based edit, I put the music in the primary.
I cut scripted and unscripted. For unscripted, interviews/dialogue would start in the primary as I shape the story to take advantage of the magnetism, but they might not remain in there the whole time.
There’s no right or wrong way, and I change what I want. I am not thinking about “what needs to be in the primary now” anymore than I think about what video/audio track things needs to go on. If I need the magnets, it goes in there, if it’s a secondary cutaway, it goes above as it usually tied to a word/sentence/part of music.
Also, before I edit, I preassign generic but separate Roles, even though they will certainly end up changing. I often edit as viewing the names as roles instead of clip name when editing in X. I start very basically with the Role, and get more granular as the edit becomes more refined. Interviews are interviews, nat sound, music, dialogue (when its not an interview setting) etc and so forth. This helps me when looking at the timeline and takes a few minutes and helps with even further organizing. It’s very easy to do before editing in mass bunches and I find it saves time in the end.
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[Jeremy Garchow] “There’s great keyboard shortcuts to move things in and out of the primary and leave a gap behind. The process is very fluid. … I am not thinking about “what needs to be in the primary now” anymore than I think about what video/audio track things needs to go on. If I need the magnets, it goes in there, if it’s a secondary cutaway, it goes above as it usually tied to a word/sentence/part of music.”
Jeremy,
Brilliant, thanks.
This sounds very fluid to me – more like the primary is a temporary work area where magnetism operates. Do you find you’re often moving sections in and out or is it more shot by shot?
Franz.
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Good catch. If I had taken the time to re-read my post before posting, I might have caught that.
I hope they figure out a way to use the I/O keys to make edits into secondary storylines, perhaps even a way to “lock” the primary, just like we lock tracks in FCP7.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
[Franz Bieberkopf] “This sounds very fluid to me – more like the primary is a temporary work area where magnetism operates. Do you find you’re often moving sections in and out or is it more shot by shot?”
It’s usually multiple shots that are related to each other (maybe many clips that make one sentence/thought, or dialog that’s related). Some times I move them out of there if I want to play with the length of that section, but keep the surrounding timeline in tact. The resultant gap that’s left behind keep all timing in place while I can mess around with the clips above with no timing penalty.
It is certainly different than fcp7, but I liken the process of the magnetic timeline as sketching. I feel like I can try a bunch of different options faster without completely reworking the whole timeline.
It’s certainly not perfect though, there are certain areas I’d like more control. I do think it’s a decent start.
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