Chris Harlan
Forum Replies Created
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[Steve Connor] “I’m interested if anyone who is now happily working in FCPX also worked this way in Legacy. It’s a technique I used to use when I had a LOT of source material but I didn’t like doing it very much, perhaps it’s a factor in whether you can get on with FCPX or not?
“That may be. I work this way–or nearly this way–also.
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[Michael Sanders] “I’d be amazed if someone hadn’t used this quote before in relation to FCP X “
Yes, people have been using that tired chestnut for a very long time.
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[jon smitherton] “Just wait to you try Avid. “
Oh, I agree. The limited number of audio tracks is one of Avid’s biggest drawbacks. And the time it can take for waveforms to redrawn on long timelines can be very annoying unless you have “Show Marked Waveforms” enabled. I don’t know if you know about that option, since you left it out of your discussion above, but its a very useful option that I’d like to se on other NLEs. When its enabled you only see waveforms between the in and out points. It doesn’t completely make up for the sluggish redraw, but its nice to have selective waveforms on both individual tracks (as you mentioned above) and for limited time (Show Marked Waveforms.)
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[Brent Cook] “Joking aside, that was pretty cool overall. Nice effects for low budget.”
I agree. Kudos to them for putting it together. With some practice they could easily go pro. It ain’t quite there, but that’s noticeable because what is there is good enough to make the discrepancies apparent. Clearly, they have a future.
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[Bill Davis] “It’s not REAL – but virtually everyone recognizes double circles as shorthand for “binocular POV” even tho it’s clearly not consistent with reality.
“Of course its not real, Bill. But our job is to convince people it is.
Actually the many, many films that do binoculars successfully–to my taste–follow a formula that goes something like this: overlap a pair of circles, a quarter to a third, darken and lightly blur the outer circumferences, so that there is a slight ghost of the rims, and then in the overlap of the circle, add a bit of blur which is usually brought into focus and instant or two after cutting to the POV. Its quite effective. I’ve used it a number of times. I don’t remember when I first figured that out, but I probably ripped it off from David Lean. Of course its gotten a lot easier to fake in the digital age.
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[Craig Seeman] “Waiting to see which NLE implements the “Post to COW” keyboard command.
“Really am ROTFL!
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But I do so want to be a real boy.
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[John Davidson] “Welcome to the club. 7 months in and very happy with the results thus far.”
You and Charlie are my inspiration in that direction.
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[Bob Woodhead] “You slacker Chris 😉 At least you recognize when your penance will come due.
I did want to mention one thing that recently surprised me, with more time on X… the ability to keep my hands off the mouse. I always tell anyone looking to become a faster editor that they need to move the mouse far away. Learn the shortcuts. Be the shortcuts. When I was learning X, for some reason I assumed it was going to be a more mouse-driven NLE. But as I get more hours in, I find I’m keyboarding at least as much as 7, if not more. “
That’s good to hear. As I’ve been moving back onto Avid, I’m forcing myself to be more keyboard-centric and am being rewarded for it. When I finally tackle X, its nice to know that’s there, too.
[Bob Woodhead] “Lol… OK, another thing… it’s cool to be reviewing a timeline, and adjust parameters while it keeps playing. Little tweak, let ‘er roll….”
Premiere does that too, now. It IS kind of fun.
[Bob Woodhead] “that’s it…. turn off Cow, nose <-> grindstone”
Yeah, I think that’s some good advice.
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[Jason Jenkins] “[Chris Harlan] “Whenever anyone does a binocular POV as two distinct round holes it drives me batty. Haven’t they ever looked through them before?”
Hahaha! So it’s not just me that’s bothered by that?
“Drives me crazy!