Brett Sherman
7
COW Coins
Forum Replies Created
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That is really puzzling. Is it possible that you “disabled” or muted audio tracks in the timeline (so they are greyed out)? I’ve found they still output when sharing in that case. Instead you can silence them by dropping audio level all the way down. Or uncheck the audio channels in the Inspector.
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Brett Sherman
One Man Band (If it\’s video related I\’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here. -
[Andrew Kimery] “I think that goes to the point of a ‘disconnected’ editor being advantageous. If the director looks at the footage and mentally fills in gaps with his/her prior knowledge from being on set/location then that can be problematic because the audience won’t be privy to that same information. I think a primary role of the editor is to be a surrogate for the audience and being disconnected from production makes that task easier because all you know is what the footage tells you.”
I think you misinterpreted my point. The audience also doesn’t have to dig through hours and hours of footage, the editor does. And that’s where memory comes in. Memory for an editor is just about as important as any skill. If you shot it, you know it better than a “disconnected editor” likely ever will. And there is also a significant time savings because no one needs to “learn” the footage.
I don’t disagree with your point. I’m also not saying one model is superior to the other. They both have their pros and cons. I think in a cameraman/editor single person arrangement, skills have to be developed which allow you to view something you know a lot about, but with the eyes of someone who doesn’t.
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Brett Sherman
One Man Band (If it\’s video related I\’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here. -
[Oliver Peters] “Because you have made that decision, you have the conviction that it is the right one. You have a vested interest emotionally. OTOH, the editor who wasn’t on location, can and should be more impartial. “
It sounds a bit like you’re saying the disconnected editor workflow is superior. Let me push back on that a bit. Especially with documentary-style work where accuracy and mood is important. And you might only be talking about scripted work.
I’m not sure how much “vested interest” there is, seems to me to be a bit of a canard. I do think when you experience something in real-life you are gleaning a lot more information that the editor doesn’t have access to. You seem to be suggesting this is freeing. Maybe in some cases it is, but I would say it may be more limiting.
By experiencing it in person, you have better memory for the footage/events. There is a reason why all competitors in memory competitions use a “Memory Palace”. Because our brains are designed to attach spatial cues to our memories. Editors never have any spatial information as to where this happened in relationship to where that happened.
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Brett Sherman
One Man Band (If it’s video related I’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here. -
Someone coming on to say “that’s because you’re not using Premiere/Avid correctly” in 3…2…1
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Brett Sherman
One Man Band (If it\’s video related I\’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here. -
Agreed. Depends on the usage. my template would work for a 3 minute video, but not for a 30 minute show. There are tons of manual open-captioned videos posted on Facebook everyday. In fact, whenever you see open captions on FB I pretty much guarantee they were done manually.
I know how to do .srt import (with your utility), but honestly it’s less time consuming to manually open-caption for a short video, so that’s what I typically do.
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Brett Sherman
One Man Band (If it’s video related I’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here. -
I think you could accomplish this with a Motion template. The sliding up part at least. Centering you’d have to do manually as there is no way to get one title in FCP X to communicate with another title. I made a quick and dirty one that will slide up everything under the title. You’d have to stack your titles, then to keep it from sliding up the video, you’d have to compound all the subtitles together.
You can download it here:
https://www.dropbox.com/s/45vgwlw1f7pvevg/Bretts%20Subtitle%20Push%20Up.zip?dl=1Here is how you stack your titles:
Then you have to compound it to keep it from affecting video below titles:
Hope this helps.
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Brett Sherman
One Man Band (If it\’s video related I\’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here. -
[William Davis] “I’m assuming there’s no way to add an ease in/ease out to this keyframed crop?”
This is why I made my own Motion Template. Drop your photo in the timeline. Set Spatial Conform to “Fill” and then put this effect template on it. You can also stack these to do compound moves. Like a crash zoom out, stacked on a slow move in.
https://www.dropbox.com/s/5iiuqsjirvp34pz/Bretts%20Pan%20and%20Zoom.zip?dl=0
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Brett Sherman
One Man Band (If it\’s video related I\’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here. -
You can do it with FCP X’s built in color correction tools. Make an oval mask around the subject. Then expand the contrast inside the oval, bring up the brights, and outside the oval make it darker. It makes your subject pop a bit.
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Brett Sherman
One Man Band (If it\’s video related I\’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here. -
Or get an OWC drive toaster – https://eshop.macsales.com/item/OWC/U3DRVDCK2/
And buy 7200 rpm hard drives to put in. It’s an ever expanding storage solution. Buy a new drive when you need it. But old ones on the shelf.
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Brett Sherman
One Man Band (If it\’s video related I\’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here. -
[Joe Marler] “Some of these can be examined with tools like MediaInfo but it doesn’t reveal this for all variants. The XAVC-S material is all *inter*-frame; I don’t know about the C200’s 150 mbps internal 4k codec.”
Any 150 mpbs 4K has to be inter-frame. I’m sure it has a slightly different H.264 implementation than XAVC 4K. But not that would explain the massive performance difference between the two formats. Quicktime doesn’t like it either. There seems to be something in particular that the Mac doesn’t like about it.
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Brett Sherman
One Man Band (If it\’s video related I\’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here.
