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Where’s your footage coming from?
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[Shane Ross] “”They were the best of formats, they were the worst of formats.”
-A Tale of Two Cameras.”
https://www.youtube.com/watch?v=no_elVGGgW8
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heyup
i’m a one man band based within the media dept of my company. I shoot everything except for a few RF lifestyle clips we get from pond5, and i edit on a mac pro and FCPX
incidentally, also the company photographer. i have canon 60D and 1Dx which i use for both and a jvc camcorder
cheers
Phil
SATRA Technology Centre
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[Tim Wilson] “Are you shooting it yourself?”
Usually.
[Tim Wilson] “Are clients bringing it to you?”
Clients bring us graphics projects to execute, beyond the standard production pipeline.
[Tim Wilson] “Are you part of an editorial team on the post side of a production, production company, etc? (This would cover episodics and features for sure, but also in-house corporate, worship, etc.)”
We’re 2 partners that are 80% cross-functional. We produce/shoot/edit our own projects, together, individually, often using freelancers to support us when we’re on different projects at the same time.
[Tim Wilson] “What cameras/formats are you shooting/receiving?”
Majority is C300MKII, using a variety of lenses, and loving our new(ish) set of Xeen primes. Also use a 5D on a variety of motion mounts, a GH4 on a Defy gimbal, an Inspire 4K drone, C300MKII on Steadicam, C100 as B/C cam, GoPros. For other jobs, older cams that still function perfectly well where appropriate; Panasonic AC-130, AF-100, HPX-500.
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Hehehe…
I record my own footage.
Mostly, it’s from multiple phones and action cameras.
It’s amazing that you can get pretty good quality video from a 3-4 smartphone setup.
Of course, decent lighting helps.
Modern-day phone cameras (especially Nokia Lumias) are getting quite nice.
JJ -
I run a small Freelance Production House that delivers a variety of sporting content for National Broadcast.
FCPX has made that process quite sound – particularly since the software included MXF (Op1a) file export capabilities.
Most shoots we ISO record and then deliver, long form (Episodic content) on pretty quick turnaround.
Most shoots contain over 1000 media files in over 1TB of raw data per FCPX library, per shoot.
We use:
Sony FS5, Sony PDW700/800 XDCAM, Sony FS7, Sony FS700, Sony NX5, Go Pro & Replay XD cameras.We will Multicam various components up to a dozen angles and these shots are the only items we will transcode. Everything else – we edit Native footage.
Example here:
Night Thunder Promo EditDean Neal…
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Dude, that stuff was AWESOME.
This was always the promise of pushing great tools into more places.
One short generation ago, a video like yours would be something seen only on Network-level sports broadcasts.
Now your niche gets the same access to quality… and guys like me can get a direct view of a culture and passion that lives in a place I’ve missed since a family friend took me to the quarter midget track in the 1060s! It’s awesome to see how the racing world below NASCAR and Sprint level has also grown.
The people who are fans of your work are lucky that it will document their lives in a way their grandparents couldn’t imagine. And this is just one infinite fraction of the interesting stuff out there.
Well done.Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Thanks Bill!
I am Senior Producer for a number of sporting products including some show jumping events as well as starting to do some small VT packages as Producer here for Australia’s version of NASCAR – Supercars…
An example of one of our full Night Thunder shows is attached here. This show is quite popular, aired around Australia around Noon Saturdays on a free-to-air Network.
If you watch the show closely, a number of familiar FCPX plugins will become apparent – SliceX/TrackX, Ripple Callouts etc.
Click THIS LINK to view Night Thunder Episode.
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Dean Neal…
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Two more good example of FCPX and popular plugins in use:
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Late Model Tech Story from Dean Neal on Vimeo.
The above Late Model Tech Story piece we released on Social Media and had hundreds of thousands of views, as well as being aired on Television here.
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Perth Drag Racing from Dean Neal on Vimeo.
Drag Racing promo edit above – which also included some sweet Phantom Flex 4k imagery!
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We also produce a Long Form show from a horse eventing/showjumping event in Perth City here in Western Australia. This one is delivered on Channel 7 and rates very well – well over a million cumulative viewers. All edited on FCPX.
Dean Neal…
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Particularly impressive since as so many I see online STILL believe – X is only good for (insert low end niche use example here.)
Of course you all are “down under”, so obviously you didn’t get the widely circulated US memos that X was too different for pros to use effectively in a collaborative situation and what you actually really needed was something more like FCP Legacy so as to not upset yourselves too much.
Shame on you for being so flexible.
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Well Bill,
I will say in Australia there are echoes of what’s going on in the USA.
I saw the potential of FCPX at the start, but I agree within the broader community that its implementation within the FCP7 ecosystem at the time was far from perfect…
A lot of FCP 7 users here have moved to Premiere Pro. The first two years of ‘X’ did a lot of credibility damage here.
Some criticisms were fair, some maybe unfair.
That said, I have seen a steady increase of FCPX users for Television and high-end work here over the past two years.
The deceptively simple UI of ‘X’ hides a deep vertical interface and software paradigm. Lots of Disclosure triangles, Keyboard Shortcuts, options and settings at your disposal ;-).
There’s been some amazing content delivered using it in Australia for sure… but FCPX is seen as a distant third at best behind PPro and Avid MC in the TV broadcast space here.
I love the media handling of FCPX and multicam implementation particularly…
If people could just see the non-destructive, Databased way that FCPX stores media files and the flexibility of keywords, keyword collections in particular… it would gain a lot of momentum I believe.
Now…if we can just get a roles based mixer, and more UI layout flexibility and better handle waveform generation in relation to ‘growing’ EVS files – then I would be pretty happy in its entirety with it and I could probably lobby others to adopt it with more vim and vigour. 😉
Hopefully the next update of the software will further entice and excite people.
Dean Neal…
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