[Andrew Kimery]

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.

[Andrew Kimery]

[Bill Davis] “Does that help?”

Yes, between you post and some others I have a better idea. Thank you.

-Andrew

[Andrew Kimery]

[Bill Davis] “Hey Andrew,

It was nagging me that I remembered a piece where Tom did a more thorough explanation of his keywording workflow for music videos – and in another forum today, my friend Sam Woodhall referenced it – with a link.

This might provide more insight into a few more X Browser strategies.”

Thanks for the additional link Bill, but in this one he talks about his Audio commercial, not a music video.

One reason I was thinking keywords might not be that great of a help for a performance-based music video is that you can’t really cheat shots. You could create a keyword collection for “bob medium shot” but you can’t use any of the shots out of context so having a collection of them isn’t really that useful.

For example, if you want a wide shot of Bob singing the first verse you look in your multicam to see all the takes and either you have a medium shot of Bob singing the firsts verse or you don’t. You can’t take the medium of Bob singing the chorus and put it into Bob singing the verse.

This is of course with the caveat that the director doesn’t want a music video with sync is intentionally thrown out for dramatic effect.

[Andrew Kimery]

Thanks for the additoinal link, Bill.

I was surprised that he didn’t do much with keywords/keyword collections. Maybe a music video just isn’t a good use for keywords since he syncs up all the takes and watches them in the mutlicam view. Being a more visually oriented person I also liked seeing how he used Lanes.

[Andrew Kimery]

[Bill Davis] “Having a system directly “plumbed in” to FCP X that lets me correct and match different source cameras in pre- and then have those corrections flow into all the subsequent work becomes a “fix it once – then forget about it” thing that I love. “

Maybe there are other examples that you didn’t mention, but in the above example it sounds like you made adjustments to the clips prior to editing them into a timeline and that’s something that’s been doable in NLEs for a long time. Or am I misunderstanding the example you gave?

[Andrew Kimery]

[Walter Soyka] “Do you find this leads to a lot of re-work?”

Yes, but as a previous poster said, it’s a necessarily evil due to the client/producer/director/network being inexperienced, insecure, having trust issues, lacking the prerequisite amount of creativity to properly do their job, etc.,. Not exaggerating, on some past projects (unscripted work) I’ve thrown out 3-4 weeks of work because I was told the higher-ups won’t ‘get it’ unless it’s covered in b-roll and there’s music underneath. Such a frustrating and colossal waste of time… but that’s the way the cookie crumbles these days.

The rare times I work with collaborators that can actually understand the rough cut process I’m nearly brought to tears.

[Walter Soyka] “Is there any work you actually save for that mythical state of Picture Lock?”

For me it’s just tweaking/fine tuning things since all the elements are already in the cut.

[Andrew Kimery]

[Charlie Austin] “Would love to use Frame I/O but… Hollywood. It’s hard to turn the Titanic”

This probably goes back more to your previous point about security being paramount (no pun intended) rather than just being stubborn. Back in the day when I worked as a vault manager all of our assets from studios (which of course had code names) were kept inside of a locked safe inside of a locked room in the back of our locked media vault which was inside our locked offices (which took up the whole floor).

Even then that wasn’t enough. On one project we had to send all the assets back at the end of the day and then the studio would send them to us again each morning. Crazy paranoid.

[Andrew Kimery]

[Oliver Peters] “[Jeremy Garchow] “Every time this comes up, someone blames the hardware. ”

I’m not exactly sure of what causes RAM leaks in general, but my suggestion was rather that this was software-related.”

Yeah, RAM leaks are caused by software mismanaging memory allocations, not bad hardware.

[Andrew Kimery]

[Bill Davis] “My fun is imagining how he might have structured his keyword collections to help.”

What are some possibilities you’ve come up with?

[Andrew Kimery]

[Bill Davis] “A forum supposedly about software that runs exclusively on Macs …”

Except it’s not a forum supposedly about software that runs exclusively on Macs. It’s a forum about debating Apple’s new (relatively speaking) philosophical idea of what an NLE should be (FCP X) compared to some already existing philosophies about NLEs (and many of those already existing philosophies are shared between apps like MC, PPro, FCP Legend, Lightworks, Resolve, etc.,.).