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What have you done in X lately?
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For the 2012 lacrosse season I converted from FCP7 to FCPX. There were some adventures along the way, but overall the outcome was a positive change. I do game summaries with voice over and use old NFL films as a model.
I find for this kind of editing, which involves collapsing 70 minutes into 5 minutes, adding some slow motion, some interviews and managing ambient sound, voiceover and music background that FCPX works well. Granted not as ambitious as many other responses you will get, but thanks for the question.
On Vimeo at https://vimeo.com/41083012
Claude Lyneis
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[Bret Williams] “That’s funny you feel it’s all file based….
But those are small companies. Probably exceptions to the rule. :)”It’s true even for big companies. 🙂
Netflix is still 2:1 in favor of DVDs, and Redbox added 10,000 new kiosks last year.
On the more localized level, I still see a lot of Blu-ray files being delivered to boardrooms and other corporate venues like tradeshows that wouldn’t have the first idea what to do with a computer file.
Not that streaming’s not big (even Redbox will have a streaming option in H2 2012), or growing, or more profitable, but DVDs are a long way from done commercially. There were 210 Blu-ray disks sold worldwide last year, and we’re on pace for 400 million this year!
My guess is that a good bit of this is because of combo packs, but it still speaks to the generally robust nature of the disk business, which remains far, far bigger than the download business.
Tim Wilson
Associate Publisher, Editor-in-Chief
Creative COW Magazine
Twitter: timdoubleyou -
Just finishing a feature in FCPX, when it’s finally done I’ll hopefully be putting together an article on the process.
Steve Connor
“The ripple command is just a workaround for not having a magnetic timelinel”
Adrenalin Television -
[Steve Connor] ” I’ll hopefully be putting together an article on the process.”
There is no hopefully. There is only do or not do.
Looking forward to it, bro. 🙂
tw
Tim Wilson
Associate Publisher, Editor-in-Chief
Creative COW Magazine
Twitter: timdoubleyou -
[Dave Gage] “(I took a look a few months back at David Battistella’s work and was very impressed. And, some of his night shots gave me some good ideas for future music videos I need to put together.)”
Thanks!
I just finished a 25 minute documentary in FCP X (sorry no links yet because we are just finishing it up.
David
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The shortest answer is doing.
Lord Herbert
https://www.davidbattistella.com -
[Bret Williams] “But those are small companies. Probably exceptions to the rule. :)”
Ha – thanks for pointing that out Bret I really should have been more specific about the fact that I was talking about my own experience.
But then I would have missed your fabulous witty reply.
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Thanks, Mark! I give most of the credit to the producer, Saul Gonzalez. Truly a great reporter and producer. One of my favorite people to work with. He cares about good camerawork, sound, and story. How much more could an editor ask for?
Michael Garber
5th Wall – a post production company -
Most of my work is corporate and I’m just not particularly comfortable posting other companies’ work in public without their formal permission.
That said, I had a lull the past few days and made significant progress on my multicam Jazz music video project – so if I can get that wrapped up over the next couple of weeks, I’ll happily post that after the band and crew has their premier.
It’s certainly been an interesting learning experience working with so many cameras – and trying to sorta kinda match the images. I suspect I’m going to have to make it more “artsy” than I originally intended simply to try and meld so many different looks – (the 7 GoPros had such different lighting profiles and the exposure and noise levels of a couple of the more interesting angles were pretty sketchy)
I’ve learned a lot, however, which was the whole point – and the next time I embark on one of these, I’m going to make sure I have massive amounts of camera setup time – particularly in the area of metadata profiling and making sure that the Camera IDs, Clip Numbers, and camera setups don’t conflict. It’s been 85% easy so far – but the 15% of what wasn’t (two rogue camera settings that wouldn’t identify or capture properly and required external transcoding before they’d import) took a heck of a lot of time to isolate and fix out of the 60 camera files the project generated.
Live and learn.
“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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[Bill Davis] “I’ve learned a lot, however, which was the whole point – and the next time I embark on one of these, I’m going to make sure I have massive amounts of camera setup time – particularly in the area of metadata profiling and making sure that the Camera IDs, Clip Numbers, and camera setups don’t conflict. It’s been 85% easy so far – but the 15% of what wasn’t (two rogue camera settings that wouldn’t identify or capture properly and required external transcoding before they’d import) took a heck of a lot of time to isolate and fix out of the 60 camera files the project generated.”
Absolutely the best way to learn, I look forward to seeing what you’ve done
Steve Connor
“The ripple command is just a workaround for not having a magnetic timelinel”
Adrenalin Television -
[Tim Wilson] “There is no hopefully. There is only do or not do.
Looking forward to it, bro. 🙂
“Hopefully it won’t be long, the last possible hitch was the ProTools export and that seems to have gone very smoothly so once the Post House gets the mixes back to me we should be good to go!
Steve Connor
“The ripple command is just a workaround for not having a magnetic timelinel”
Adrenalin Television
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