what is editing speed ?

[Oliver Peters]

[Phil Lowe] “On the other hand, for the example I cited above, I created several bins:
Royalty-Free Music…..
My organizational workflow was to put all of the daily B-Roll into its own bin, then sequence it, and place that sequence into the “Sequences” bin, identified by shooting date and subject.”

If you want, you can work in FCPX in a very similar manner. Obviously the terminology is a bit different and the procedures not completely identical, but in general you can work this way with X.

[Phil Lowe] ” This allowed me to close the bins containing the raw material I didn’t need, leaving only the FX, Sequences, and Graphics bins open, as I would be using and adding to these as work on the finished program proceeded. “

Also possible in X.

[Phil Lowe] ” I’ve been told “keywording” is the fastest way to work in FCPX but this was a completely unnecessary step in our Avid news workflow!”

While Interplay is its own animal, if you organized clips at the Finder level in various folders based on the type of clip, then when you import the media into FCPX, you have the option to use those folder names. When you do that, the folders become keyword collections, so any organizing that you’ve done externally is used.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Oliver Peters]

[Phil Lowe] “Well then I must be really confused about FCPX then,”

Maybe this will help:

https://digitalfilms.wordpress.com/2015/08/07/final-cut-pro-x-organizing-tips/

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Phil Lowe]

Thanks, Oliver. Nice information, but any long form work I’ll be doing that’s not news-related I’ll be doing in Media Composer. Most of the work I’ll be doing in news will revolve around cutting simple vo-sots and straight-cut reporter packages, where heavy organization isn’t really needed. In fact, for cutting a vo, I would simply like to be able to drop every clip on the timeline and trim to :40 there. Someone mentioned a “tops & tails” feature in X. Any idea what that is and how it works?

Nevermind. I found it.

https://www.premiumbeat.com/blog/top-and-tail-editing-now-available-in-final-cut-pro-x/

I’ll get this app working like my Media Composer in no time! 😉

[Bill Davis]

[Phil Lowe] “I’ll get this app working like my Media Composer in no time! ;)”

And there lies the conundrum.

Yes, you likely can constrain X to the point where it acts like something that is NOT X.

Which begs the question – why bother? If you’re truly going to just leave the synth on the “piano” preset all the time – just buy a piano – it’s MUCH less grief.

And no less capable of making great music, by the way.

As a penalty for using a music analogy, I nearby appease the forum spirits with a bit of sublime “almost on topic” by virtue of being a film score – offering.

Hang em high – Booker T and the MGs (with notable assistance from Steve Cropper and Duck Dunn) – – neither piano nor synth – but Hammond B3 FTW.

https://www.youtube.com/watch?v=80k4qakPrqA

Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Jeremy Garchow]

I guess I have a hard time understanding why it’s so hard to understand that not everyone needs all of their clips in a timeline in order to browse and view. And because someone doesn’t find string outs as useful as other methods, is somehow not as valid of a craft editor. It doesn’t make any sense to me. String outs, much like black and white television, are a limit of the technology of the time. In the program, a more logical way of sorting clips and browsing and scanning clips with ease doesn’t exist. If you take a step farther back from the NLE era, string outs were literally the only way to view footage in any useful way.

This doesn’t mean string outs are a problem or I am somehow “against” them. I still use them in X. But this conversation seems to imply that you can’t put two clips next to each other in more than one timeline in X.

I edit clips in to the timeline and do my work. String out timelines are literally an easy way to view clips to be moved in to the workspace of editing. Even when using string outs in fcpx (for which I repeat, I still use) I very often match frame a choice bit and add some sort of tag to that clip in the browser to store for later. Favorites are quick and easy for this.

String outs still have a very valid use in fcpx. Tabbed Projects would add even more validity. But honestly, it must be the way I think about things or relate footage in my head, fcpx’s tagging and skimming system helps me to recall selections and use them in the workspace more quickly. Why does that make fcpx a badly designed program?

If I like how the magnetic timeline allows me to group selections with intent instead of a tacit proximity that is easily foiled, why does that make some people so angry with Apple as a company?

I’m working a 30min show now. I started by stringing out all of the interviews into their own projects for tc burn.

After that, I keyworded all the interviews by subject and taking point, and added markers that further summarize that content. After that, I took all of those keywords and added them to their own projects. I then made a snapshot of each of those Projects. I then did a little cut down of each subject, and once I was done with that, I added all of those cut down Projects to one master Project and began whittling away. The timeline was 3 or so hours long at that point.

The broll I simply keyworded loosely based on location or other pertinent information.

After I completed the first rough cut that was presentable to the client, all of my footage is now very organized and ready for feedback. Because I did a little more work up front, and all reviewed footages are in manageable categories, feedback and changes go more quickly, which helps me out. For this project, there’s over 50 hours of footage, I need all the help I can get remembering where things are. Keyword categories help to narrow down where that footage is rather than the 25 2 hour string out timelines I created in the beginning. And I can’t stress enough how useful being able to sort the entire library (or keyword collection(s)) by “unused” helps to get to remaining content quickly.

I don’t think X is for everyone, but that doesn’t mean X can’t put two clips together.

[Oliver Peters]

[Jeremy Garchow] ” But this conversation seems to imply that you can’t put two clips next to each other in more than one timeline in X…
…but that doesn’t mean X can’t put two clips together.”

Huh? How did you come to the conclusion that was being said?

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Tony West]

[Phil Lowe] “That means being able to lay things out on a timeline and drag them around “

kind of like this? Indeed, I like to drag stuff around also.

https://www.youtube.com/watch?v=pRZgVZd9UmQ

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Phil Lowe]

why bother?

Because – as I have explained in other threads – my current job as a per diem news photographer requires it. However, I also own and use Media Composer for paid and pro bono freelance work. I have been using, building, and training people on Avid systems for almost 21 years. There is no compelling reason for me to use FCPX except that my employer will (eventually) expect me to edit with it. Beyond doing cuts-only editing, I will have no use for it. Therefore, since I already own a Steinway Grand in Media Composer, I have no problem using FCPX like a cheap knock-off of the real thing, if that’s what it takes for me to use both.

I have zero interest, at this stage of the game, in trying to learn a whole new editing paradigm just to do cuts-only editing. That’s why.

[Phil Lowe]

Yeah, your video is precisely why I hate editing in FCP7, too.

[Bill Davis]

[Phil Lowe] “Beyond doing cuts-only editing, I will have no use for it.”

Well, I suppose that phrase clearly sums up why it appears the two of us (and others) will always have differing approaches to this sort of technological change.

You’re appear to be content to NOT know what something is capable of AND simultaneously decide in advance that that it will NEVER benefit you. Basically, a judgement that the way you solve your professional challenges currently can not possibly improve.

Which is fine.

I prefer to explore whats new out there – before I decide that the way I’ve been doing things for the past twenty years is still best way to do them.

The cameras, the lights, my audio gear, the file formats, the delivery targets and even the techniques I used in program design – all “state of the art” 20 – or even 5 years ago -are NOT any longer. So I enjoy the benefits of the latest research to make it easier to do what I do. For me, it was seriously past time to retire the “studio in a building” – the big heavy Tungsten light kits – my big old Lectrosonic wireless rigs – and yes, my old NLE.

All of them were excellent tools in their era and I could STILL use any of them to meet a deadline and earn the paycheck today. But they are also kinda universally inefficient – in one way or the other – when it comes to the type of work I need to do today.

Same with my NLE. That’s all. No big deal.

I’m happier when I edit now than I was before. Much happier. It’s easier and more fun. If it’s not for someone else for whatever reason, that’s fine too. It’s not my job to tell anyone else how to work. And it’s not their job to tell me that the way I do the job is “wrong” either.

But what fun would this forum be if we didn’t STILL have these skirmishes.

Viva la Guerre, I suppose. At least it’s bloodless and isn’t boring.; )

Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.