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  • Charlie Austin

    October 2, 2017 at 9:58 pm

    [Don Scioli] “I do not see the big deal…I’ve cut 4 future length docs and 1 theatrical horror film on FCPX and never had a problem, worked smooth, quickly and output quality was superb.”

    It’s not a big deal, except in certain areas of the internet and in the “hollywood” (** generic term) hive mind. 😉

    ————————————————————-

    ~ My FCPX Babbling blog ~
    ~\”It is a poor craftsman who blames his tools.\”~
    ~I still need to play Track Tetris sometimes. An old game that you can never win~
    ~\”The function you just attempted is not yet implemented\”~

  • Andrew Kimery

    October 2, 2017 at 10:08 pm

    If the producer likes the low cost, and easier turnovers they achieved with FCPX, who wants to blow her mind with Resolve 14? Comes in a free version, it’s cross platform (i.e. shop around for best hardware deals) and one app gets you from the cradle to the grave (DIT, editing, mixing, grading, and delivery).**

    I’m only half kidding here.

    As other’s have said, a bit more of a breakdown would be nice. She mentioned a few times how having a great workflow specialist is imperative and I can certainly agree with that. Of course, if you need to hire an FCPX workflow wizard to get these cost saving then going with X isn’t the panacea of cost savings the early part of the article implies it is.

    I’ve handled turnovers for Avid, FCP Legend and PPro and been complimented regardless of what system I used even though, in my mind, I didn’t do anything above and beyond the call of duty. Apparently they are a lot of people that can’t/won’t make turnovers as easy as possible for the recipients. Which boggles my mind because I want the colorist/re-recording mixer to spend as much time as possible focusing on being creatives, not manage tech issues, but I digress…

    Yeah, if anyone has more specifics I’d love to hear what they are. If I had to guess I’d say:

    -Using Roles to make the turnovers for the re-recording mixer and various split tracks

    -Automated proxy workflow

    -Sync-n-Link

    -Clip Exporter

    I know many people like Apple’s approach to X of being kinda barebones and letting third parties fill in the gaps (especially the niche gaps), but a downside of that is X users have to be more aware of the entire third party market to really get the most out of what’s possible with X. This is where the workflow specialist the producer gushed about earned his/her paycheck since that person probably knew of a lot of third party apps/plugins that most X users probably don’t know about.

    **yet to be proven in the wild, but someone’s gotta be first.

  • Charlie Austin

    October 2, 2017 at 10:23 pm

    [Andrew Kimery] “I’ve handled turnovers for Avid, FCP Legend and PPro and been complimented regardless of what system I used”

    Me too. ☺ And, at least for audio, FCP X is leaps and bounds simpler, easier and faster than the others. Nothing else comes close.

    [Andrew Kimery] “that person probably knew of a lot of third party apps/plugins that most X users probably don’t know about.”

    Anyone who uses FCP X professionally knows about the 3 or 4 third party apps you need. I mean, anyone who’s using *any* NLE professionally should know what’s required to have it do it’s thing right? And no matter what you’re using, at this level everyone hires a “workflow specialist” aka: Really Good AE. 😉

    ————————————————————-

    ~ My FCPX Babbling blog ~
    ~”It is a poor craftsman who blames his tools.”~
    ~I still need to play Track Tetris sometimes. An old game that you can never win~
    ~”The function you just attempted is not yet implemented”~

  • Oliver Peters

    October 2, 2017 at 10:53 pm

    Regarding the central issue of cost savings, it reads to me like the bulk of savings was because they shot on RED and handled the process of the files directly. It’s common practice in the LA post world to have a lab or facility do that for you. The indie world has been handling it directly for years. From that POV, any NLE works.

    – Oliver

    Oliver Peters – oliverpeters.com

  • Andrew Kimery

    October 2, 2017 at 11:02 pm

    [Charlie Austin] “Me too. ☺ And, at least for audio, FCP X is leaps and bounds simpler, easier and faster than the others. Nothing else comes close.”

    I think you’ve done some videos (or at least blogged) about how well Roles handles that, right?

    [Charlie Austin] “I mean, anyone who’s using *any* NLE professionally should know what’s required to have it do it’s thing right?”

    Ehhhh…. In my experience most people tend to learn the least amount to technical knowledge they need in order to get their job done. I mean, on a somewhat regular basis I still run into editors online that don’t know that PPro has sync-by-waveform built into it. Someone showed them how to use PluralEyes in 2010 so that’s what they know how to do even though they’ve been able to do the same thing inside PPro for over half a decade.

    I’ve worked with some insanely talented editors that have no clue how to prep footage, get it into their NLE, export a cut w/TC, etc., but they don’t get paid to know those things, they get paid to be awesome editors on high profile, high pressure gigs.

    [Charlie Austin] ” And no matter what you’re using, at this level everyone hires a “workflow specialist” aka: Really Good AE. ;-)”

    If everyone who’s using any NLE professional knows what’s required to have it do it’s thing workflow specialists wouldn’t be required because everyone should already know the best workflow, right? ????

    I’ve come into multiple situations where I’ve helped improve workflows because the established ones were either out of date (in that helpful new updates and/or new apps exist that didn’t exist when the workflow was created) or they are just not as tweaked as they could be. Experimenting with new workflows involves time (which is money), energy, and risk (what if I blow a bunch of time and energy on a dead-end idea) which is why ‘if it ain’t broke, don’t fix it’ will always be a viable option.

    Thankfully thanks to social media I think it’s much easier to share little tips and tricks than ever before.

  • Shane Ross

    October 2, 2017 at 11:32 pm

    [Lance Bachelder] “So a Producer who had never worked on a real Indie would naturally freak out seeing their show cut on a laptop with $300 software. “

    that producer must have their head in the sand…you can cut a feature on a laptop running Avid. And that would not cost you much more than FCX on a laptop. There was a recent twitter post about a guy cutting a pixar movie on his laptop on a plane and the editor’s seat mate seemed unimpressed. And I use my laptop all the time with Avid/Premiere/Resolve.

    Not sure what cost savings they had, as mentioned, the price difference between all the NLEs and the hardware they use it negligible anymore. It’s no longer the $65,000 Avid vs the $1200 FCP (plus hardware). Now things are very close.

    Shane
    Little Frog Post
    Read my blog, Little Frog in High Def

  • Shane Ross

    October 2, 2017 at 11:36 pm

    [Michael Hancock] “You mentioned that exporting a master file with 16 channels of audio per studio specs is easy in FCPX – maybe that’s a lot more time consuming in Avid or Premiere and would have cost them an extra day in post. That could easily be a couple grand in savings right there! “

    No, that takes no time additional time. Export SAME AS SOURCE in Avid and you can use the Direct out option and it comes out fine. No extra time there.

    Shane
    Little Frog Post
    Read my blog, Little Frog in High Def

  • Darren Roark

    October 2, 2017 at 11:45 pm

    [Oliver Peters] “it reads to me like the bulk of savings was because they shot on RED and handled the process of the files directly.”

    This is what got the ball rolling as even the very generous bid from Runway to do an Avid prep was still unaffordable for this production.

    I had worked on another feature with the same editor who had been hired which is how I got in the mix so having an editor who already knew the system was key. I believe Michael is going to do a piece interviewing her as well.

    Two clicks to transcode, then running it overnight, then the drive would get couriered to the editor’s house where she worked.

    [Oliver Peters] “The indie world has been handling it directly for years. From that POV, any NLE works.”

    Where Red is concerned, Avid works, and makes you do a lot of work.

    I was a bit shocked when I found out years ago that assistant editors don’t handle any of the transcoding/syncing on studio shows.

  • Darren Roark

    October 2, 2017 at 11:49 pm

    [Charlie Austin] “I’ll see if Darren wants to pop in and add some details”

    Such as?

  • Charlie Austin

    October 2, 2017 at 11:59 pm

    [Andrew Kimery] “I think you’ve done some videos (or at least blogged) about how well Roles handles that, right?

    Yeah, for versioning, but even to just spit out tracks for a mix Roles + X2Pro is literally 2 clicks, done. All split out, labelled and good to go. As someone who still has to sometimes “prep” tracks from other editors on other NLE’s, I can’t stress enough how huge of a timesaver this is..

    [Andrew Kimery] “I’ve worked with some insanely talented editors that have no clue how to prep footage, get it into their NLE, export a cut w/TC, etc., but they don’t get paid to know those things, they get paid to be awesome editors on high profile, high pressure gigs. “. . .

    [Andrew Kimery] “If everyone who’s using any NLE professional knows what’s required to have it do it’s thing workflow specialists wouldn’t be required because everyone should already know the best workflow, right? ????”

    lol, far enough… I guess my point is that, on larger shows and features anyway, there’s always at least one assistant who’s expected to know all that stuff for whatever NLE is being used, so in the case being discussed, that cost is the same as if they cut in Lightworks or whatever….

    [Andrew Kimery] “‘ve come into multiple situations where I’ve helped improve workflows because the established ones were either out of date (in that helpful new updates and/or new apps exist that didn’t exist when the workflow was created) or they are just not as tweaked as they could be.”

    Oh. for sure, and I’m sure some of this falls into that category. But there really are some things that X does that other NLE’s don’t, that can save significant $$ if leveraged. Reading the article, it seems like the hardest part about using X was finding “A list” talent that know how to use it. Which is a concern, at least in LA for sure.

    ————————————————————-

    ~ My FCPX Babbling blog ~
    ~\”It is a poor craftsman who blames his tools.\”~
    ~I still need to play Track Tetris sometimes. An old game that you can never win~
    ~\”The function you just attempted is not yet implemented\”~

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