Bill Davis
Forum Replies Created
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We all face this.
It’s the equivalent of monitoring tape out in the old days – only to realize that the tape transport isn’t rolling. The signal LOOKS fine because it’s being passed through the signal chain – it’s just not being stored anywhere.
My new conditioning is that bouncing meters isn’t nearly enough anymore.
The new normal for me is to ALWAYS remain in RecRun – and to visually check for ascending timecode to confirm that the recording system is actually capturing the data over time. Without THAT confirmation – I have no right to expect anything other than silence.
FWIW.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
To answer that, you need to articulate why you need an NLE in the first place.
Do you just want to create your own content?
Are you going to seek an employee seat in a large editing shop? If so, how large?
What hardware do you have access to, including the OS and machine specifications?
Are you going to be creating content for theaters or network TV? or will your work be going largely direct to the web?Unless you can answer these kinds of questions, it’s impossible to give you advice on what might be the best NLE to get your needs.
Of the two you mention, learning AVID generally sets you on a long path toward a seat in someone elses larger shop. The bet is that when you’re seasoned enough to fill that seat, the AVID system is still as popular as it is today.
Resolve is, IMO, a decent and improving NLE bolted onto a superior color correcting program. That fact that it’s free is amazing. The question is whether and how rapidly it’s NLE component might develop into a full enough featured NLE to attract editors to switch from the current market leaders, ADOBE, APPLE and AVID and adopt Resolve as their primary tool.Good luck.
Just an observation.Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
John,
Something to consider is that the wireless spectrum is in constant flux these days.
Frequencies that used to be “safe” have been re-assigned for other uses (for example, cellular phones) and are no longer viable. Wireless systems whether traditional UHF or VHF – that were purchased for professional use have simply stopped working.
Also, as production gets more and more affordable – more units are in use – and the possibility of frequency conflicts only increase.
So wireless is getting more difficult to operate, not easier. If you are just looking for something to use for a few years and in limited circumstances where there aren’t a lot of other users competing for frequency space, units in your price target will probably be fine.
If you’re investing for the long run – it would probably be best to up the budget and look into one of the newer frequency agile digital systems that search for clear frequencies and lock onto them. It’s a longer term strategy than fixed frequency these days.
FWIW.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Particularly impressive since as so many I see online STILL believe – X is only good for (insert low end niche use example here.)
Of course you all are “down under”, so obviously you didn’t get the widely circulated US memos that X was too different for pros to use effectively in a collaborative situation and what you actually really needed was something more like FCP Legacy so as to not upset yourselves too much.
Shame on you for being so flexible.
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Dude, that stuff was AWESOME.
This was always the promise of pushing great tools into more places.
One short generation ago, a video like yours would be something seen only on Network-level sports broadcasts.
Now your niche gets the same access to quality… and guys like me can get a direct view of a culture and passion that lives in a place I’ve missed since a family friend took me to the quarter midget track in the 1060s! It’s awesome to see how the racing world below NASCAR and Sprint level has also grown.
The people who are fans of your work are lucky that it will document their lives in a way their grandparents couldn’t imagine. And this is just one infinite fraction of the interesting stuff out there.
Well done.Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
It’s actually not super simple the way they did it. The ballistics of the bar movements is a more sophisticated ease-in than just a standard wipe.
So you’ll need to keyframe the bars using speed ramps if you want to precisely match what they did.
Pretty basic in Motion – and certainly possible directly in X, but probably a 5 to 10 minute build to set up. Once you do that, of course, you can copy and re-use it at will, but as always, nice things typically take time to create.
That or find a packaged wipe or effect with the speed ramps built in.
Good luck.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Jeez… I leave town and it suddenly gets interesting. Figures.
I’ll sit this one out because I’m having a ball in San Diego playing photographer with NO client to please.
Yippee!
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Self-employed preditor/shooter for 20 years plus.
Today, I mostly produce, but I also shoot for long time clients and edit everything for internal and external stakeholders.
I hire crews (that typically include shooters, along with sound, light and grip) but it’s rare that I’m on a production where I’m exclusively directing during the acquisition phase. I direct the interviews and set pieces – but for all the B-roll, I tend to let the crew do the primary coverage (mostly shooting Canon C-100/300 these days. Whatever format the crew is used to is usually fine with me and floats up and down the camera class, depending on the project budget.
So typically MXF field acquisition by the A crew. But It’s rare I’m not also shooting B-cam on something weird – which might include a DSLR on a Steadicam or my iPhone 6 on a handheld gimbal – so format wise, that stuff could easily be h-264, h-265 or Mpeg 4. My goal is to expand the b-roll pool and try unusual shots that might not work out – while my A crew is getting the base coverage.
I mostly produce and shoot my own stuff, but have clients that send in everything.
I’ve had projects over the past year ranging from r3d to Alexa to GoPro Cineform.
It’s my new normal.
FWIW.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Hi Shane.
If you truly need to batch export individual clips directly from an X storyline out to the finder level there’s a tool called Primaries Exporter can batch process these automatically.
Check it out here: https://www.primariesexporter.com
There are also ways to generate FCP XML exports that let another editor use your defined keyword collections and apply yhem to cloned masters masters if that’s a better fit.
There might be other ways to set up something via free Apple Automator utility, but I’d need to better understand what you are trying to accomplish to help you more.
Drop me a line if you want to explore more.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Michael Hancock] “The unnecessary secrecy, particularly for the ProApps division.”
Well….
the way THEY do things has led to them becoming one of the leading companies on the planet with the resources to do huge things effectively.
Perhaps they would be even bigger and stronger if they tipped their hand more. But that’s speculation.
What they HAVE done – has led to where we are now.
So it’s worked.
Making you or me feel better isn’t really the point is it? It’s doing what gets them the result they want.
And so far, it has. That’s kinda hard to argue.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.
