Christian Kinnard
Forum Replies Created
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[Chris Kenny] “[Christian Kinnard] “You don’t see basic need to have the canvas and the viewer up at the same time when picking points?”
Not especially, no.”
So, if Resolve took away your ability to split the frame your coloring to compare the preceding clip (or another), you’d just chalk it up to the genius “revolution” of Blackmagic? You wouldn’t say why did you take that away, what did it hurt?
Real world scenario, just a couple of weeks ago. Say I’m sitting with a director watching dailies. He want’s me to cut in a clip. I know there is a continuity problem. I say “there’s a continuity problem”, and like many directors they’ll say “I want to see it anyway”. At two in the morning, I don’t want to cut a clip in that I know won’t work. Canvas/Viewer, side by side, obvious, moving on. Now you might say toggling is just as easy. To normal people like you and I maybe. But let’s be honest, most directors/producers aren’t normal people, and imagination in these terms escapes them. Back to my original argument: I am fine with change, but with change on one side of me and a rock on the other side of me, I have to ask “did they really think about the professional editor”.
Just one specific example that “us people” seem to be excluding. Now there are many real life scenarios I played out in my head over the past two weeks. I know it seems like a small point, but these things add up. I might very well feel differently if I were in a room by myself most of the time. I have not doubt FCP X will be great for some people. Working on a feature in a room with the same people for 4-6 months, I want speed and precision. Proclaiming they are going to revolutionize the industry when they failed to take into account peoples needs peripheral to the editor is a stretch.
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[Chris Kenny] “People keep making statements like this without providing specifics. How is FCP X imprecise? Yes, dragging ranges is not the most precise way to mark in and out points. But scrubbing is a really fast way to find something in a pile of footage, and J/K/L and I/O still work when you need precision. There are quite a few commands for trimming in the timeline with similar accuracy, including some FCP 7 lacked.
I really not trying to be a jerk here, but having used the app, I have no literally idea what you’re referring to with this criticism.”
You don’t see basic need to have the canvas and the viewer up at the same time when picking points?
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Yes, I’m sure several features will be cut on FCPX, someone also cut a feature on Imovie. I haven’t freaked out on these boards but I’m absolutely frustrated with Apple and the product they released. It’s not just missing only 3 “critical features”. You can talk about revolutionizing post-prod all you want, but editors change their way of working as much, if not more, by the people they are working with. Sitting in a room with directors/producers who have been in the business for 30+ years are very much dictating how we are picking through footage.
After playing around on a test project for 2 weeks what stands out to me is a lack of preciseness. When I’m moving through dailies, I want to move quickly. As far as I’m concerned, all the bells and whistles of background rendering, 64bit, etc are coming to every system. But if it lacks a precision, I want nothing to do with it. I started on M100, learned FCP and Avid at about the same time, also jumped on to Premiere for a little. The argument that I’m just not used to it yet, it’s that revolutionary, is asinine.
I use both Avid and FCP regularly and I’ve gone to bat on several feature films to use FCP (and taken plenty of heat for it). Working in LA, I don’t see any place for FCPX. Right or wrong stigma is everything. Apple took a huge misstep in releasing this app too early. Things like the Conan Obrien skit circulate on Facebook, producers/directors see it, all of a sudden any mention of it is a joke. To top it off Apple alienates people like me who have long been FCP advocates.
All that said, I know LA isn’t the center of the universe, and I’m sure FCP X does have it’s place.
Christian
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Also no problems, had both running since Avid released v5.0. No issues.
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Nice little app, thanks for posting. Work on a number of documentaries, while spotlight works, it’s obviously isn’t so specific.
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For the sketch effect, there’s several tutorials on Youtube for doing this in After Effects (and I’m guessing Motion). I had to do a book cover sketch for a film i was working on and some of the techniques got me far enough. I’d start there.
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I’m running a dual quad 2.8GHz processor, and it works great. I did cut a doc shot with the 7D and ran some tests with AMA. It was just a little sticky. Not sure how smoothly it plays on the recommendations, so I can’t compare. Had the project not been a feature I probably would have run with it, instead I transcoded to 175, but ran beautifully.
Christian
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I’ve tried a few. My personal favorite is Screenflow, as far as it’s interface, though it’s a little more expensive, $99
https://www.telestream.net/screen-flow/overview.htm
Christian
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I definitely imagined it then. Thanks for the quick response Hector!
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I go back and forth depending on the project and like Richard says it takes me about a week to really cross over. People have different philosophies as to how to handle this, like trying to map the keyboards so they are similar. I’m the opposite. I try to keeping them completely separate, Avid and FCP function in completely different ways so the base keyboards is structured for that. Be patient, once you get your base keystrokes down you’ll move slightly faster and then you’ll branch out.
Avid and FCP are great in their own ways, and Avid 5 is really making me consider dumping FCP all together (that will never happen).
Christian