Bill Davis
Forum Replies Created
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[Shane Ross] “So…I might wait for that. from an un-baised source…”
Your time, your popcorn, your call.
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Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
My 2 cents…
On the customer side, it’s a VERY modest ask.
And it will upset hardly anyone.
On the Adobe business side, if we fantasize there are, say 100,000 subscribers on Premiere only (ignoring ALL the $50 a month folk) then in doing this very modest adjustment they just increased Premiere cash flow by $100,000 per month from now on – with ZERO COGS (cost of goods sold) increase at all.
If any pushback is ignorable – then the business office has a shiny new lever directly connected to their profit needle.
Can’t be abused, certainly or it effects customer satisfaction.
But now it’s been used.
We’ll see what this means, if anything, for the future.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Shane Ross] “They don’t need to market to FCX users. It’s pretty much a given that if you use FCX, you need to use a Mac. BUT, After Effects, Avid, Premiere Pro…others…are cross platform, so they need to try to win them away from PCs.”
^
This.Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Can somebody please spot Shane the $9.95 do he can switch to commenting on the actual MOVIE?
We’ve all seen trailers that make good movies look meh, and even more that make crap movies look fabulous.
The best way to know how good or bad this movie is – would probably be to just watch it.
Just my 2 cents.
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Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Shane Ross] “What purpose does this documentary serve?
What is this documentary trying to say?
Who is the intended audience?”To examine how disruptive technological change effects people.
That such change is pervasive and accelerating, and hard to manage.
Anyone interested in those themes.
Like the point I made in the doc, actually – it’s curious that nowadays people form such strong opinions – about stuff they haven’t yet experienced.
Cioni, Ubillos and others all speak to these themes. And both Randy snd Dave Cerf of the Original Dev team discusses some of the philosophical underpinnings of the WHY behind X.
That was fascinating, to me at least, YMMV.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Andrew Kimery] “And if the essence didn’t come through in the footage then the director, since he/she was there, can (hopefully) help the editor recreate it in post.”
I’ve been on countless field shoots where something a client or an agency rep has said has helped me interpret what will make THIS video more successful – and therefore becomes critical to my editorial understanding.
But I also understand that unless you have the budget for unlimited re-shoots – in many, many situations, the editors job is to find best story that their instincts can locate – in what they actually have – regardless of any “plans” anyone might have had in prep.
Maybe it’s a matter of the type of work you do?
Some types of complex narrative arcs probably emerge best when the editor is allowed to becomes “storyteller in chief” – IF the ultimately responsible parties like the director and producers are okay with that.
But in other video types (certainly in corporate work where I have spent most of my career) information from the executive suite “as discussed on set” – has been not just useful, but often CRITICAL to the successful completion of a project.
Yes, an editor often has totally valid reasons to act as a surrogate for the audience’s untainted perspective.
But in lots of other situations, the editor who was on-set to soak in more of the INTENT of the field discussions – ALSO can bring a boatload of useful knowledge into the edit suite.
The devil will always be in the details, I suppose.
One factor, is certainly that not that long ago, it was logistically impossible to bring all the tools of the edit suite OUT of the suite and onto location. Today it’s pretty trivial.
We’ll see if this continues to change at what stage – and where during the post process – editorial work migrates over time.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Steve Connor] “It’s exactly why I don’t “reject” footage in FCPX”
For some types of projects a Reject pass might be less unnecessary.
For others, I can’t think of a single valid reason to keep a long shot in mind where the camera kept rolling for 2 full minutes while hair and makeup fixed a problem and a distracted director failed to call CUT.
You use the tools the way they resonate for your style in X.
To me, since we’ve moved WAY beyond 20 minute Betacam loads – I suspect we’ll see ever accelerating shooting ratios – with more and more useless chuff that deserves ruthless pruning as early as possible.
I know David a bit and I feel confident that he would have seen and appreciated the “camera mistake” scene he described the first time he encountered it. And even if he didn’t formally tag the shake itself for retrieval when he first saw it – he would have been completely aware of its possible utility pretty early.
I’m convinced that FCP X will always appear to be a “glass half empty”situation (in some of its aspects) for certain editors
And the same features (ala Reject) will be seen as massively useful by others.
The point of the idiom is that people very often see the exact same thing in two completely different ways.
And so it goes.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
You might be a bit stuck thinking in a specific process you used to employ.
Do you really need a specific “tool” for this? X can make this pretty easy using just it’s native tools.
Just create a regular text title which is left aligned and formatted as you like for font, size, etc. Place it on your storyline and adjust it into the position you want your single titles to originate. Stretch this out the ENTIRE Length of your project.
Delete any temp text you might have used to create this. (Your goal is clean slugs without any content in case you want a space without any title later.)
Watch your film and BLADE this empty title holder into TITLE SLUGS that match where you want the captions to change. These will be your “baseline slugs.”
Go to the first slug and type in a temp title.
Duplicate it (Option Drag) it into position above the first title. Use this to set the position of the second tier of titles. Copy Attributes for it’s position. Delete the text to get a blank slug again.
(If you want THREE tier stacks, or more, just repeat as needed.)
Now Select ALL the empty baseline slugs – and option drag a second copy of them all above the first as connected clips.
Select all the second title string clips and Paste Attributes (position) to lock blank text slugs above the originals.
Now just double click each and type in your copy as needed.This whole setup process should just take just a few minutes.
Now just type in your titles as needed.
Pro tip: If you don’t want to mouse around to type in your copy lines – use your timeline index. You can just arrow down and type everything in the TI as you need.
There are other ways to accomplish this stuff via outside programs like word processors and/or database approaches like Filemaker Pro – but unless you need tons of special tools – this is pretty easy and requires nothing else past what’s already built into X.
FWIW.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Oliver Peters] “Hence a difference in styles and philosophies.
“Okay, there might be a good measure of truth in this.
We oftennthink what we expect to think – at least to a certain degree.But I’d still prefer to give everyone (client, director, and yes, me if I’m going to cut it) an iPad or iPhone on set and have everyone codify their opinions of what they saw in the on-set monitors.
I just don’t want to waste my most valuable prep time skimmering more Crap than I actually need to – not if I know everythings still at hand if I need EVERY instance of Line 15 for said potential frankenbitng.
But I agree it depends on expectations, and those are a function of both working habits AND the nature of the tech you’ve become accustomed to.
And so it goes.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[greg janza] “Then bring in Creative director and client and listen to all takes and drop in on the fly to the spot.”
Why, that sounds exactly like… auditions.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.