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Walter Murch won’t use FCX
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[Jeremy Garchow] “to be fair, he looked at in March, hasnt looked since as he has been working, and remains cautiously optimistic.”
He doesn’t have to look at it Jeremy. It’s a given at this point that X doesn’t work for him, and he knows that without looking. That’s the part you and others seem to not to understand, and it’s been that way since June 22nd when Walter Biscardi announced the same thing.
And, the “cautiously optimistic” line you keep using is in the eye of the beholder I guess, because I keep thinking that when he said, the current project may be or may probably be his last film on FCP, I took that to be the more important of his lines.
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] ” For most editors here in L.A. you don’t need to spend more than ten minutes on the Internet to know that X is a square peg that won’t fit into the round hole of this ecosystem. “
The peg is still being shaped. I don’t think Murch’s cautious optimism is about FCPX in its current state. It’s about where it might (and, yes, might not) go.
[David Roth Weiss] “that won’t make X work within this environment at this time. “
“this time” being key. I don’t know anyone saying it’s mature enough at the moment. No one knows for sure if it will in the future but that’s “cautious optimism.” One has reason to believe it might.
[David Roth Weiss] “And so, criticizing Mr. Murch or anyone else who works in a similar environment/ecosystem, simply because they haven’t put in enough time on X is far too simplistic and simply not valid.”
I don’t think anyone can criticize him for a product he’s only had a cursory look at that is only beginning to progress beyond the state that he saw it in.
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[Craig Seeman] “I don’t think anyone can criticize him for a product he’s only had a cursory look at that is only beginning to progress beyond the state that he saw it in.”
Then we agree.
[Craig Seeman] “The peg is still being shaped. I don’t think Murch’s cautious optimism is about FCPX in its current state. It’s about where it might (and, yes, might not) go.”
Yes that’s absolutely true, but you also have to look at “cautious optimism” as potentially being one of those of those oft used Hollywood euphemisms people here tend to use in place of the words “no” or “never,” which people in this town are very reticent to use even when they know better.
[Craig Seeman] “”this time” being key. I don’t know anyone saying it’s mature enough at the moment. No one knows for sure if it will in the future but that’s “cautious optimism.” One has reason to believe it might.”
I don’t disagree with you, but let me refer you back to the answer above…
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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[Tom Wolsky] “If I understand your premise you want to slide the gap and the connected video and audio. Select the gap and nudge it, comma or period, Shift-comma or period, or type in a plus or miss value.”
That’s correct, however I want to overwrite in the primary in the direction I’m dragging, and not affect the trim of the clip I’m moving away from.
You’re method partially works, but is limited in that you can’t nudge beyond the length of the clip you’re nudging into, and the clip you’re nudging away from is extended by the length of the nudge.
Basically, I just want the position tool to behave consistently when used on gaps. It should leave a gap behind as the gap is being moved. It does not. And because of this design error, as you can see, clips ripple underneath it. That’s because storylines are ripple-only and gaps are the only way to space clips apart.
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
Put another gap after the one in the timeline. Nudge it as you like. The position tool is not necessary. If you move it numerically it will wipe out the shot you’re moving across.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press -
Well frankly more ticked off than emotional bill.
I see you’re pushing the horizontal clawing around the base of the dreaded pyramid there again.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[David Roth Weiss] “He doesn’t have to look at it Jeremy. It’s a given at this point that X doesn’t work for him, and he knows that without looking. That’s the part you and others seem to not to understand, and it’s been that way since June 22nd when Walter Biscardi announced the same thing.
And, the “cautiously optimistic” line you keep using is in the eye of the beholder I guess, because I keep thinking that when he said, the current project may be or may probably be his last film on FCP, I took that to be the more important of his lines.”
As I said early in the thread, people hear what they want. It’s true.
As far as this being his last film on FCP7, yep. It’s probably time to move on from that EOL product. No question.
I have no idea if he needs to look or not, I’ll leave that to him and his team. If i were on his team, I’d say, “Yo player, have a look at some of this cool stuff. I think it’s worth looking at.” He seemed to push the limits of fcp before most were willing. What a Hollywood rebel, eh? Remember, back when QuickTime had only two channel audio capture? How could such a limitation allow editing of a feature? I guess the rest is now history. Shades of grey, indeed.
From the Cold Mountain interviews:
“The Workflow
How did you decide to cut “Cold Mountain” with Final Cut Pro?
Starting in March of 2002, Sean Cullen, my assistant, and I went over to DigitalFilm Tree, where Ramy Katrib runs a post and design consulting company that specializes in Final Cut Pro. When we told him that we were interested in using Final Cut on “Cold Mountain,” he was very enthusiastic. But we had questions because it hadn’t yet been used on a project of this scale. We brainstormed together over three days developing the “Cold Mountain” workflow.”—
“Your decision to use Final Cut Pro shocked the industry. Were you nervous about the decision?
Well in a kind of a healthy way, I was. Over the last 30 years or so, it seems to be a pattern with me that I will plunge into a new technology, both for the benefits that it can bring me directly, but also because I’m very interested in systems, and how they work within a creative environment. I was one of the first people in the U.S. to use flatbed editing machines in the late 1960s, after having used the upright Moviola. At the time that was seen as a radical departure.”—
“Are new editors missing anything by learning on non-linear editing systems instead of older systems, or is that older editors waxing nostalgic?
I think there are only two areas where something is missing. When you actually had to make the cut physically on film, you naturally tended to think more about what you were about to do. Which — in the right proportion — is a good thing to do. The cut is a kind of sacramental moment. When I was in grade school they made us write our essays in ink for the same reason. Pencil was too easy to erase.The other “missing” advantage to linear editing was the natural integration of repeatedly scanning through rolls of film to get to a shot you wanted. Inevitably, before you ever got there, you found something that was better than what you had in mind. With random access, you immediately get what you want. Which may not be what you need.”
I would really be curious if someone gave him a good tour.
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[Jeremy Garchow] “I would really be curious if someone gave him a good tour.”
Me too. If I had to bet, I’d wager he’d find the DAM aspects intriguing, and the trackless, ripple-only timeline as Oliver Peters so succinctly put it:
[Oliver Peters] “I think the trackless idea is utterly stupid…”
But who knows?
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
[Jeremy Garchow] “As far as this being his last film on FCP7, yep. It’s probably time to move on from that EOL product. No question.”
I don’t agree with your interpretation Jeremy, not to mention that Mr. Murch went on in the very next line to add that Avid, which he already knows, would likely be what he’d wind up cutting on.
[WalterMurch] “Starting in March of 2002, Sean Cullen, my assistant, and I went over to DigitalFilm Tree, where Ramy Katrib runs a post and design consulting company that specializes in Final Cut Pro. When we told him that we were interested in using Final Cut on “Cold Mountain,” he was very enthusiastic. But we had questions because it hadn’t yet been used on a project of this scale. We brainstormed together over three days developing the “Cold Mountain” workflow.””
For the record, I met with Ramy about two months ago, and we spoke a good bit about X. According to Ramy, DFT is already transitioning over to Avid, if that tells you anything. However, since you brought this up today, I’m going to call Ramy tomorrow to discuss this very topic with him again to see if he knows anything new, and I’ll report back. Or, if Ramy is willing, I’ll record the conversation I’ll make it a podcast. Okay?
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.
-
[David Roth Weiss] “I don’t agree with your interpretation Jeremy, not to mention that Mr. Murch went on in the very next line to add that Avid, which he already knows, would likely be what he’d wind up cutting on.”
Huh, that’s funny. I read this from the blog which doesn’t really say one way or the other (from the Q&A session): “If you didn’t use FCP, where would you go? “I’ve used Avid in the past, so I know it well. There are some very good things that Avid has, but I’m also curious about Premiere since I’m interested in technology.”
[David Roth Weiss] “For the record, I met with Ramy about two months ago, and we spoke a good bit about X. According to Ramy, DFT is already transitioning over to Avid, if that tells you anything. However, since you brought this up today, I’m going to call Ramy tomorrow to discuss this very topic with him again to see if he knows anything new, and I’ll report back. Or, if Ramy is willing, I’ll record the conversation I’ll make it a podcast. Okay?”
I have no authority, but I’d say sure! I’d be curious what DFT would think since SAN support and a new version of XML has been released since the last time you two talked.
Jeremy
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