X Sports

[Matt Tureck]

Yup, but I’d still have to export first, which slows things down.
That export time may be the difference in whether my story makes it on air, or misses the deadline.
That’s my big problem with X for news use. Yes, there are workarounds to most of my issues, but they all add a step…and in a business where speed is so important, I need a workflow (like 7) that doesn’t add those extra steps.
Not trying to be contrary here…I really want to be able to use X. Lots of features will make my life much easier, and if they add a better dual mono workflow, it’ll go a long way.

[Jeremy Garchow]

[Matt Tureck] “Not trying to be contrary here…I really want to be able to use X. Lots of features will make my life much easier, and if they add a better dual mono workflow, it’ll go a long way.”

Since FCPX is so much faster at editing, it will save you time for the export. 😉

They have a dual mono workflow, they just don’t have live video/audio out, but it has been announced by Apple. For now, you must join the ranks of all of us that are waiting for an update. In the meantime, we learn.

[Nelson Goforth]

With broadcast materials is there really a need to go out to broadcast monitors, scopes, etc? I mean, with all of the attention to the picture at the time of capture isn’t that taken care of before it gets into the editing software? This is by way of curiosity – I come from single camera shooting (with no engineers) and the recorded picture is not polished and ready for air, so the monitors are needed.

Nelson Goforth

[David Roth weiss]

[Nelson Goforth] “With broadcast materials is there really a need to go out to broadcast monitors, scopes, etc? “

Yes!

[Nelson Goforth] “I come from single camera shooting (with no engineers) and the recorded picture is not polished and ready for air, so the monitors are needed.”

Of course. This has been discussed for months. We don’t much about what’s coming, but we do know that pro monitoring is coming, albeit from 3rd party vendors like AJA, BlackMagic, and Matrox.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

Don’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.

[Nelson Goforth]

David, Thanks for the reply.

I understand about the monitoring issues for FCX. I’d just noted in one early post in the thread that the concern was that, with FCX, there was no way to go out to monitors and scopes.

My question was, since the picture from the broadcast cameras is already tightly controlled by engineers, can’t the image be trusted through the edit without the need for further critical monitoring? Of course I guess that lots of stuff is being added and manipulated in the edit… and engineers are not people to be going on ‘trust’.

Nelson

[David Roth weiss]

[Nelson Goforth] “since the picture from the broadcast cameras is already tightly controlled by engineers, can’t the image be trusted through the edit without the need for further critical monitoring?”

Well, typically even the best footage is shot flat in order to provide the most dynamic range for manipulating images in post. But, beyond that Nelson is the need to be able to monitor fields-related issues, motion artifacts, etc., which always crop up during up and down-conversions, and when mixing SD and HD material. Fields are not properly displayed on computer monitors, and it’s not at all uncommon for unwary or new editors to cut entire projects using nothing but their built-in laptop monitor or on a tower with their computer monitor, only to find at the very conclusion of editing that they have an entire hodge podge of problems with fields, interlace lines, and motion artifacts.

I could go on and on… There are a litany of problems that improper monitoring will hide from the editor.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

Don’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.

[Nelson Goforth]

Thanks again. The difference between computer monitors and broadcast is the initial reason I bought a Panasonic LH-1710 – clients on set wanted to see an accurate color rendering for material I was processing from our Red camera. We already had one to be the output of the camera, but I got another to monitor the Red Rocket card as I was doing a ‘one-light’ correction on set. The computer monitor looked good, but when seen on a broadcast monitor (at the same settings) had a washed-out, low-gamma appearance – so had to step up and get the Panasonic.

Nelson

Red Camera Rental & Indy Features, Denver Colorado.
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