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Will FCX be around for a while?
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[Robin S. Kurz] “Recently had to do a multicam with CC and it was a painfully frustrating, convoluted, unintuitive mess in comparison”
Like many complex things, CC multicam can be unintuitive depending on the nature of your materials. What precisely were you having problems with?
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Herb Sevush] “Like many complex things, CC multicam can be unintuitive depending on the nature of your materials.”
Exactly. Inconsistent and unintuitive.
My first and foremost problem was, that I (unknowingly, since it has never been anything I needed to even think about before) combined footage with varying resolution. That lead to anything that was smaller than the largest clip getting a big nasty black border around it. W… T…? Took me ages to figure out. And the list grew from there…
Had that happened with a multicam in FCP X (which it actually couldn’t, even if you tried) a simple double-click and rescale in the angle window would have fixed matters in seconds. Not with CC… Adobe is apparently only worried about winning the “Longest Feature List” contest, not usability. Oh well.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Herb Sevush] “well first the stabilizer would go a little crazy when the pot was brought into the frame as it sought to stabilize the moving pot, then it would settle down into a much tighter framing for the length of the clip in order to fix the bump”
Nope. At least not with my stabilizer, since it has dynamic scaling. If nothing is being stabilized, nothing is being scaled. Not a thing scary about it. See: Lock & Load.
[Herb Sevush] “the amount of time you’d be wasting stabilizing good portions of the shot”
Again, nope. Happens in the background. I don’t care how long it takes. But yeah, not a workflow I would recommend using the standard stabilizer.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Simon Ubsdell] “Could you show us some of the lines of code”
Talk about a loaded question. You know full well that I can’t. As if lines of code had a precursor along the lines of
the following algorithm brought to you by… Soundtrack!or such nonsense.Talk to an Apple engineer the next time you see one. I did. I’d say about as reliable as it gets.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Robin S. Kurz] “You know full well that I can’t.”
You might want to think about not throwing around words like “factually”, when all you have is unverifiable hearsay.
[Robin S. Kurz] ” Shake, Soundtrack, even Color are still alive within FCP X. … The technology of all of the above is factually within FCP X.”
Especially when your claims are intrinsically improbable.
Simon Ubsdell
tokyo productions
hawaiki -
[Robin S. Kurz] “My first and foremost problem was, that I (unknowingly, since it has never been anything I needed to even think about before) combined footage with varying resolution. That lead to anything that was smaller than the largest clip getting a big nasty black border around it. W… T…? Took me ages to figure out.”
I think most Premiere users will find it quite surprising that you couldn’t easily work out how to deal with this. It really isn’t rocket science.
Imagine the scorn you would heap on a FCP X user for showing comparable ineptitude!
Simon Ubsdell
tokyo productions
hawaiki -
[Simon Ubsdell] “I think most Premiere users will find it quite surprising that you couldn’t easily work out how to deal with this. It really isn’t rocket science.”
Thanks for the additional brilliant and exemplarily constructive insight.
Of course the fact that the room I was in whilst trying this was also filled with roughly TWENTY part and full-time Premiere users, all of which were equally stumped, makes that claim that much more hilarious. Thanks for the hearty chuckle.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Robin S. Kurz] “Nope. At least not with my stabilizer, since it has dynamic scaling. If nothing is being stabilized, nothing is being scaled. Not a thing scary about it. See: Lock & Load.”
The thing that was scary was having this conversation in the first place. I don’t have to “See: Lock & Load” since I own it and use it, along with other stabilizers, since each has their strengths and weaknesses. First of all Bill was talking about working with the native stabilizer in FCPX. Second, even with the key framing available within L&L stabilizing entire clips before creating your multicam is simply bad practice, which you seem to agree with later in your post.
[Robin S. Kurz] “But yeah, not a workflow I would recommend using the standard stabilizer.”
So does this mean you would recommend doing this WITH L&L? Do your really stabilize all your clips before creating multiclips? Or is this simply another case of you being argumentative for no reason?
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Herb Sevush] “So does this mean you would recommend doing this WITH L&L?”
If they needed it, sure. Don’t see why I wouldn’t. With the standard stabilizer you’d have the scaling issue, which is why in its case I wouldn’t.
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Robin S. Kurz] “Of course the fact that the room I was in whilst trying this was also filled with roughly TWENTY part and full-time Premiere users, all of which were equally stumped, makes that claim that much more hilarious. Thanks for the hearty chuckle.”
Where some see unintuitive complexity others see a useful tool free to deal with complex usage.
As for the issue of dealing with multiple frame sizes:
In the “Create Multicam” dialogue box there is a section labeled “Sequence Preset.” The default is “Automatic” and if left unchanged PPro will use the frame size of the largest sized clip in the group to create it’s multicam source. However you can over-ride the default and choose any frame size and rate you want.
Once your multicam source is created you can open it in a timeline, select any or all tracks and choose either Set or Scale to frame size (more options, more complexity, more choices) for any offending camera angles and all those nasty black bars will go away.
So now you can have any sized source sequence you want and all the tracks within the sequence will be full frame.
As for the 20 premiere users who could not figure this out, I would suggest you hang out with better editors in the future, you will learn more that way.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf
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