Chris Harlan
Forum Replies Created
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[Jeremy Garchow] “Sorry, I thought since you understood FCPX’s shortcomings, you were just taunting.
“Sorry, man. You should know that despite our rocky introduction to one another, I’ve come to respect your work here. Being a long-time FCP fan, I don’t want to give up on X, but I can’t really use it or play with it much, currently, so I follow along here and try to stay abreast of things. I had some idea that conforming would be a difficulty in FCP X’s current state–because I couldn’t think how to do it–but I was far from sure. I had to allow for the likely possibility that there was something I was missing, which is why I posted the example.
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[Thomas Frank] “I think you didn’t get what I am saying “talent” the “creativity” the “imagination” is half… it is part of your success, never mind it is your success. Anybody can educate themselves with technical mumbo jumbo…
Einstein quote:
Imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, stimulating progress, giving birth to evolution.Funny a coworker said something like this similar on FCPX… can’t use FCPX professionally try using your imagination. hihihihihi
“Hey pal, you keep following your path. It sounds like you are on just the right one for you.
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[Thomas Frank] “okay why do you think and why would say something like that?
If not the case why complain about it?
“Sorry, Thomas. I SO don’t understand this question. I’m sure it is a typo. Could you possibly clarify?
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[Jeremy Garchow] “You must take pleasure in hearing me say this, but hear it is for the fourth time this thread, FCPX is not suitable for this job at this time.
“Jeremy, I get no pleasure in that. I’d like FCP X to become something that is useable for me. As I go along in my daily workflow, I often think, gee, how would you do something like that in FCP X? So, I asked. I thought there might be a work-around or some clever way of reassigning content at the level of metadata, but apparently there is none. I wasn’t trying to pester you. I’m just trying to understand something fundamental that is beyond my level of experience with FCP X.
This is a major thing. It is not as obvious as no video out, or tracks. But this, alone, will derail FCP X for any industrial scale use. That’s sad.
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[Thomas Frank] “Reading this Blog I can hear the fear in between the lines of someone that is afraid losing project and jobs to a uprising generation that might be more talented with less technical knowledge which is learnable.
“Really, that’s what you get? Feed that delusion, pal.
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[Jeremy Garchow] “[Chris Harlan] “It only took me 15 minutes using the EDL import, whereas fitting by hand would probably take half a day.”
Yeah, there’s no EDL in FCPX. I thought we all knew that. That’s why we said it’s not suitable.
“Certainly, I know that. What I’m asking is HOW do you do a conform from disparate sources in FCP X?
Can you? Forget about the EDL. Let’s say that my project was nowhere near as complicated. Let’s say my project was very straight forward–which it is often not–and all I have to do is conform the temp trailer to a finished version with video and audio from the new master, which has matching timecode to my temp source. Can I do something that simple and essential in FCP X or do I have to conform all by hand, one shot at a time?
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[Jeremy Garchow] “Basically, it’s the same process, just no EDL guide track, unless I’m missing something.
“I think you ARE missing something. The EDL pulls all my cuts for me (in order and to the frame), and syncs up DIA/SOT from all sources other than the stems. If it weren’t complicated by a mixture of filters I could just do the whole thing automatically. It only took me 15 minutes using the EDL import, whereas fitting by hand would probably take half a day. Syncing the bites from the mismatched stem is also very easy using the timecode window.
I have to do this kind of stuff all the time. From all sorts of sources. From all sorts of people. At all different levels of completion. My guess is that FCP X is an absolute FAIL at this kind of work, but since I haven’t gotten in as deep as some here I’m asking if there is something I’m missing. See–though it is seldom mentioned here–its stuff like this that will keep it out of Hollywood.
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[Jeremy Garchow] “What’s your source? P2? Tape? What’s your master? Just an HQ file?
“My source is a single file–probably an Avid dump with locked picture–on DVCproHD. The master I have to conform to is a ProResHQ file with separate audio stems that do not completely match picture.
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[Timothy Payton] “Just to clarify, did the footage originate in DVCProHD or ProResHQ?
Where do you have the current edit in FCP 7 or FCP X, or just an EDL?
“I don’t think the original format is germane to my question. I have no idea what the feature originated on, though probably 2K. The DVCProHD locked-picture was undoubtedly just a dump from an Avid. The ProResHQ master is the property of my client (a very large International television conglomerate).
I’m already done with the conform. I’m not asking how to do it. I’ve been doing it for years. I was laying bare my process in FCS. I want to know how someone would theoretically tackle such a problem in FCP X. For a theoretical answer, you can assume that the original temp trailer was cut using FCP X from an Avid dump and than has to be conformed to a new FCP X master.
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There are rumors and much speculation that Mac Pros will be discontinued as the Apple freight train tosses away detritus to build up speed to better pierce the consumer heart.