Andy Neil
Forum Replies Created
-
[Neil Goodman] “how long does it take to patch an audio track in Avid? If your smart, there mapped to a keyboard.”
[Neil Goodman] “Its a fraction of a second operation thats hard wired in my brain and that hardly leads to a ton of added time.
“Let’s not overstate things. What do you do when the audio track you need to patch is A12, or A15, or A20 on large timelines? You can only have so many shortcuts. And if you have source clips with 4-6 audio tracks but A3 of your source needs to be on A6 in your timeline, it’s definitely more than a “fraction of a second” operation, even with auto-patching.
Andy
https://plus.google.com/u/0/107277729326633563425/videos
-
[David Cherniack] “Andy, in both kinds of NLEs organization has to be done. Roles or track assignments. Take your pick. I’ve been talking about something else: the ability to intuitively ‘read’ the timeline audio at a single glance, once the organization is done.”
The problem is, David, you’re equating two things that aren’t even remotely equal. In many cases, Roles can be assigned automatically upon import into FCPX (at least into it’s default roles). You can’t import a clip into an Avid which will always drop onto A10.
In FCPX, I can select a number of clips all at once and change their role at the same time. You can’t make all your sfx clips always fall to A5 no matter where the track assignments are. The kind of organization that you do in FCPX to keep your audio straight isn’t close to the amount of time you have to spend at each stage of the edit doing the same thing for a track-based editor. In overall seconds, minutes, hours, and button presses, you are spending a TON more time in Avid keeping an “at a glance” timeline than you do to create and view an “at a glance” timeline in X.
You are suggesting that there is “extra” work involved for FCPX editors in order to view and understand their timeline because they have to highlight the role in the index for certain types of clips to be easily seen and their purpose understood. But you completely ignore all the “extra” work you do as a track based editor to get to that point. Way more than an X editor has to do.
And for your information, I’m not of a “trackless persuasion” as you put it. I’m working on an Avid right now and I’m happy to do all the organization work I do to keep my edit and timeline clean. But FCPX isn’t some wild, indecipherable mess of a program simply because it doesn’t have tracks. I’m just trying to clear up misinformation about how X works. It’s not more work to keep an X timeline organized for quick understanding, it’s much, much faster.
Andy
https://plus.google.com/u/0/107277729326633563425/videos
-
[David Cherniack] “That’s a step that a fixed track editor does not have to do to see an overview. She can see it in one glance.”
That’s not true. A fixed track NLE editor just has to do it at the front end. In Avid, you have to assign audio to certain tracks manually as you edit and also continue to keep that audio organized throughout the edit process for the “at a glance” notion to work.
In FCPX however, no track assignments are necessary. And with one step, a particular role can be highlighted and understood.
That’s not to say roles wouldn’t benefit by having color coding or auto aligning, but the visual metaphor isn’t a mess as some might think.
Andy
https://plus.google.com/u/0/107277729326633563425/videos
-
Hey Thomas,
I read your workflow article here.
Great article, BTW. I never thought of using compounds and roles as a way of replacing offline/online clips. Cool idea.
My question is, Where did you get your “Blackmagic AJA recorders”? 😉
And a slightly more serious question, couldn’t you have just recorded the playback as ProRes Proxy and save the step of transcoding in Compressor?
Andy
https://plus.google.com/u/0/107277729326633563425/videos
-
[Shane Ross] “Doesn’t that get confusing?”
Normally, yes, although there are some interesting uses for it. In the case of this edit, the editor was cutting two stories that had to match shot for shot and each had their own sfx and music. By placing one story’s audio above the primary and the other below, he was able to essentially have two completed, comparable edits in the same timeline simultaneously without getting confused about which music track or sfx went with which story. Pretty impressive really.
Andy
https://plus.google.com/u/0/107277729326633563425/videos
-
[Shane Ross] “Sorry, but that looks like a very messy timeline. I can see audio layered like that, but video?”
I don’t think you’re looking at it right, Shane. That IS audio layered on both the top and bottom. There are only two layers of video. The primary (night scene) and the connected day time story below.
The audio above the primary relates to the primary storyline video where the audio below the storyline relates to the connected video clips.
He designed it that way so that he could quickly lasso all the related audio and video tracks and use the enable/disable shortcut (V) to view the other storyline instantly as you might in the finished product.
Andy
https://plus.google.com/u/0/107277729326633563425/videos
-
[David Mathis] “Getting the “Page Not Found” message when clicking on the link”
Sorry. Copy/paste error. It’s working now.
Andy
https://plus.google.com/u/0/107277729326633563425/videos
-
It was a while ago. I just downloaded it on itunes back when I did it. But I think it’s episode 122: 3D Particle Emitter Tricks.
I was showing off tricks in Motion 4, not FCPX.
EDIT: I found it.
EDIT 2: Fixed broken link.
Andy
https://plus.google.com/u/0/107277729326633563425/videos
-
Oh sure, no one cares when I’m on Mac Break Studio. 😛
Andy
https://plus.google.com/u/0/107277729326633563425/videos
-
Love WeTransfer. Sugar Sync, not so much. For single files it’s fine, but if you need to share a folder of items, they require a signup on the downloader and will try to bill you later after your “free trial” is over.
Whatever happened to good ole’ FTP?
Andy
https://plus.google.com/u/0/107277729326633563425/videos