Darren Roark
Forum Replies Created
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[Shane Ross] “OH…BTW…I was dragged kicking and screaming into cutting on FCX today…emergency situation…so…”
[Shane Ross] “What it does is fine…we all need that. But for an application that people say is so forward looking…that us dinosaurs need to move to the future…it has a VERY old icon and VERY old terminology. That’s all I’m saying. As Simon said, even Avid calls it ADD EDIT.”
Blades cut things!
If blade is such an antiquated term then why call editing cutting? ????
(for the record, I don’t agree with all the naming conventions of any NLE)
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[Tom Sefton] “A 2013 mac pro system with maxed GPU and RAM can playback 8K raw and edit, but after a while performance gets sluggish”
Hi Tom,
I haven’t had any of the newest Red footage yet. Which system is this? 8K in FCP X? Better performance? I do know the file sizes remain the same yet the resolution keeps increasing, hence the need for more computing power I’m guessing.
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[Steve Connor] “Pretty sure it doesn’t. Apple don’t like being filmed at external events!”
It must be because they are shy. ????
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[Robin S. Kurz] “Now we have truly left the “rationale” part of this thread and (long) entered the absurd imho.”
The Oxford Dictionary chose “post-truth” for it’s word of the year which in our industry has a deeper layer of irony.
It doesn’t matter how much your NLE costs or how well it works as long as the company you bought it from does a great job of making you feel like you are continually making the best decision in continuing to use it, facts take a backseat to the feeling of being ‘right’.
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[Jeremy Garchow] “Yes, it seems to work really well, despite a few hiccups. Blackmagic has modeled some of the FCPX timeline features,”
I’m curious to know what this meant it’s at 32:50 for some reason posting a link at time isn’t working https://youtu.be/AV25nbw8uTc?t=1979
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[Oliver Peters] “Except that it actually works quite well with Media Composer.”
That must be the reason it’s still the standard operating procedure editing system here.
Because it’s better. 😉
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[Oliver Peters] “IOW, the original design was flawed and they’ve been trying to work around that ever since ☺”
True, this is what they get for trying to emulate any aspect of how Avid works keeping sequences and bins separate then realizing that wasn’t practical for most.
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[Oliver Peters] “Shouldn’t they simply get rid of Events and apply all the collections, folders, etc. at the Library level?”
I bet if it was simple they’d have done that by now.
You can’t match back to anywhere but the root of an event even if you pulled a clip from a keyword or smart collection.
For features I still make one event per scene for this reason.
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[Jeremy Garchow] “There must be something within fcpxml that allows this as xml isn’t as good, and EDL is a joke. So why do I have to stick with EDL that won’t help me, or the finisher, see my intentions in the timeline?”
I have my suspicions that Resolve has some fcpx tricks in it’s timeline when in fcpx mode.
fcpxml has nearly every piece of information from the cut where fcp7 xml is very limited. It’s even worse with Adobe’s mutated fcp6 xml.
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[Walter Soyka] “When you want to cut with FCPX instead of the “standard” Premiere Pro or Media Composer, you have good reasons other than “it costs less,” right?”
It allows many tedious tasks to be automated, you can easily use production audio, faster outputs, and when the editor knows it the ones I work with all say something similar, they can work as fast as they can think.
Costing less and efficiency.
[Walter Soyka] “Each system has its own approach and design philosophy, its own strengths and weaknesses — and a diverse, vibrant color ecosystem beats a Resolve monoculture in my book.”
Absolutely. It’s when I run into places here in LA who use Resolve for TV work and use one of the other more fussy systems for features in the same rooms with the same colorist and refuse to budge, it can get irritating. (This is usually due to the insistence of grading DPX on features as opposed to camera native because of ‘proprietary color science’.)
Considering the movies I work on have about the same budget as an episode of network scripted TV, it gets a bit silly.
[Walter Soyka] “Apple’s FCPXML interchange is a mixed bag, simultaneously brilliant and egotistical. On the one hand, it’s modern, extensible and admirably complete; on the other, it’s new(ish) and requires the rest of the world to adapt to it rather fitting in with all the pre-existing infrastructure.”
I have turned over a few features where the finishing vendor had no idea it was cut in FCP X. I actually try and avoid that subject if possible. If they want an EDL or FCP 7 XML I can give them that.
I just don’t want to pay facility fees and spend the time for using them if they aren’t absolutely necessary.