Bill Davis
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I didn’t see much of this as actually running any higher than normal speed. Is there a specific sequence that where you notice what you’re talking about?
I suppose you could get something like you describe by slowing the on-set music playback by a fixed amount, then increasing the playback by a similar amount in post, but at the end of the day, to keep the beat, the action is doing to have to match the tempo of the song or the beat will drift over time.
This whole video is a high dollar pastiche of color and post effects. Somebody threw a bunch of money on the screen. Not unusual in that J-pop is really good at that.
Can’t help unless you can point out something more specific.
BTW, the link would only work on Chrome for me, not Safari. You might want to find an alternate link if you want everyone to add their 2 cents.
FWIW.
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[Luke O'Brien] “Please don’t assume too much.”
The only thing I assumed was that you were looking for people to help you evaluate what you posted.
So that’s what I did.
Call me crazy, but evaluating a hard panned stereo mix to assess the quality of artifacts doesn’t really help me do a good job of that. What if the problem was related to comb filtering? That doesn’t appear until the stereo image gets collapsed to mono.
Having not given me a clearer idea of how you’re recording, assessing or intend to use the sound you’re posting, it appears I can’t help.
Fair enough.
I’m sure others will come along with more time.
Good luck.
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[Steve Connor] “They do Bill, they really do :)”
Of course.
On other boards more X centric, we’re currently celebrating Mike Matzdorff uncovering a collaborative workflow in FCP X that has the potential to change how FCP X teams share iterations when working on major motion pictures.
Which has absolutely nothing to do with how I edit every day. And may or may not have any bearing on how you accomplish your day to day editing either. But I’m glad Mike and Glen and Jan and Kevin et al, seem to be as excited about X’s evolution and progress as I am!
The whole purpose of the recently shared FCPeXchange presentations was to highlight evolving FCP X solutions from all around the world that might be useful for many classes of editors, from single seat editors to the largest collaborative workflows on the planet.
That the same toolset that makes me a happy editor, ALSO makes folks at Metronome and Warner Brothers happy as well I find encouraging!
If we are actually on to something new and even a bit transformative in the editing space – a space that’s been very much “me too” for decades – I figure the opportunities for X workflow growth going forward will just continue to expand. And maybe I can be a part of that.
At this point, somebody will likely dredge up another term like “triumphalism” to attempt to paint this as inexperience and foolishness. Thats fine. Knock your socks off. In my rear view mirror NAB rocked. Cutting on X in near real time AT NAB in a live presentation situation taught me lots of cool new workflow tricks. Plus, I’m loaded down with interesting work now that I’m back home and having a blast doing THAT in X. The foreseeable future of my new toolset looks really bright.
Good times.
That’s all.
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This is correct.
If all you need is a simple SD downrez to email to a client – you can export that out of a Proxy storyline just fine.
But if you are working with something like R3d or Alexa files, you need to swap the project to point at your Original media in order to get the highest quality exports.
Also, be aware that there’s going to be a LIMITATION on the potential quality of any export which is limited by the original footage import you did.
Obviously, if you import old SD masters, it makes little difference if you tell X to do a 2k export – It will do it’s best, (and sometimes thats surprisingly good) but it can’t literally up-res or create more or better pixel data than was in the original file.
Understanding this “pools of referenced content” system – helps you understand why some inexperienced editors get into trouble when they, for example, import R3d files – then do an Optimized ProRes 422 transcode in X, then feel it’s OK to dump the original big Red files to recover hard drive space! That’s not an issue if you’re ONLY going to export ProRes 422 masters, but doing so LIMITS X’s ability to point back to the Original Media if you ask for truly high resolution exports. If you’ve tossed your 4k master files, you’re just not going to get real 4k out when you share.
Hope that helps.
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Theres this thing I’m going to mention from my experience.
Years back before my switch to X, my orientation was to buy and maintain the biggest and most powerful hardware I could afford. And I’m not arguing against that at all in the new era. But…
I would argue, the new approach that X has pioneered (and that Adobe seems to be copying?) – of sequestered pools of transcodes and the switching of metadata pointers between them, combined with today’s super quick and capable CPUs and GPUs allowing you to blast high-raster pixels to a screen super efficiently even on a laptop processor – has largely changed my thinking about the type of hardware needed to effectively do my work.
Yes, there are times when I have a deep composite or am transcoding from one format to another that the heaviest duty hardware will surely help. But for me, that’s simply not that often.
Day to day, what I’m “actually” doing is creating metadata instructions about my editorial wishes and saving it in files to be applied across my content pools later. That’s not actually a very heavy lift for even a modest modern laptop.
It’s a fundamental change in my thinking. Basically that I’m not “crippled” in any functional sense when I’m working on my laptop compared to a bigger, more expensive (sometimes) desktop machine.
The cutting, coloring, sound work, editorial decision making and even the visual assessment of the images I’m working on – seem to go at the same speed on my laptop as they do when I’m working on a desktop system.
The only slowdown is when I’m ready to Apply those decisions to a finished master. That’s where the heavy hardware can likely make things a bit quicker and easier? That would surely matter if I was working in, say a news station with breaking “get it to air as fast as possible” environment. But I’m not.
It’s odd, but for the past 3 years, I haven’t even had “render in the background” turned on. I don’t care about rendering anymore. I can basically work without it and just invoke it when I sleep – and use the finished results when they are done without actually having to DO anything to get the improvement. It just shows up.. In between, the way X displays my work I feel I can make the same visual and editorial judgements without the necessity of pushing “perfected” streams through my computer in real time. For example, parking on a frame, gets me a full rez view, even if the entire stream hasn’t had time to transcode yet. And that’s fine until the rendered scene pool gets perfected in the background. When it does – bingo. I’m suddenly working with full rez files and seldom even notice the substitution.
Just one difference among many about making the transition from my old way of thinking to the new one.
Your workflow, needs and mileage may certainly vary.
But my 2 cents.
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Version.
I suspect that lke many of us coming to X from other NLE approaches, you don’t yet understand the nature of how The program actually functions.
Initial import does nothing but create pointers to what will become calculated “pools” of footage. To let you get to work instantly, X creates instant “OK for now” low Rez reference files that might not be high quality depending on the shooting format and codec you used. This is by design. Why? Because often getting started making your editing decisions FAST might be important. So you can edit in X nearly instantly because while the background file processing to render out the footage in high quality, the program can capture all your editing decisions as metadata in a separate file. As the high quality transcoding engine inside X imports, you elect what mezannine codecs like Optimized or Proxy files to have X place in separate footage pool buckets. Only when all this transcoding is complete, can you switch the pointers between the footage pools and stream video out in any resolution you need from original to proxy with the flip of a switch.
If you stop at any stage, select a range of your storyline, and do a test output, you can see the full quality you are working with. Also, parking your play head on a frame, even if the underlying footage is unrendered – will calculate a still monitor image at full quality.
X is not what you are used to. Until you learn its nature, just be patient and the magic of its approach will reveal itself to you over time.New signature under construction and coming soon. Please stand by…
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Why is this in stereo with the two people panned hard right and left?
That makes NO sense since we only have a single shot view of the action.
Collapse this down to dual mono and then toss a compressor or limiter on it to get the levels consistent.
That will at least reveal what you’re working with.
Stereo is for music and placing audio elements in a known sound field. NOT for simple talking head videos.
My 2 cents.
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Bonus surprise waiting at the end of the Inverleigh video for derived metadata fans!
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Where you going?
You’re on a website community with global reach, a big chunk of which is spread across the US.
If you were coming to Phoenix/Scottsdale, I’d meet you and lend you half a dozen of my V-mounts with an AB plate adaptor.
Easier than rental.
In return, I’d expect you to maybe buy me a drink? Basically, I wonder if this is crowd source-able?
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Either that or you accidentally double clicked the clip and expanded the audio and video components when you had the clip appearance set all the way to audio.
Try double clicking in the grey area between the upper and lower parts of the clip. If it collapses into a single entity – that’s what’s happening.
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