Franz Bieberkopf
Forum Replies Created
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[Charlie Austin] ” My head would explode.”
That’s probably the main reason I resist editing-as-spectator-sport.
Franz.
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[Charlie Austin] “My cut sequences generally end up between 5 seconds and 2.5 minutes long. My source clips are generally 1.5 to 2 hours long, with up to 5 stereo stems embedded.”
Charlie,
Your typical ratios and sources sound quite similar to mine.
To each his own method.
Franz.
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[Neil Goodman] “I dont know any editors who simply throw a ton of clips in a timeline and go with out selecting outs and doin marks etc.”
Neil,
As Chris Harlan has alluded, many editors work more or less exclusively in the timeline, doing what might be called “sequence-based” (as opposed to “bin-based” or “clip-based”) selection and editing.
That is the way I work, and all my clips go into sequences without any previous selection or marking.
Franz.
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Herb,
Let’s please have another discussion about made-up numbers.
That’s Numberwang!
https://www.youtube.com/watch?v=XXZKv6CT2aQFranz.
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[Charlie Austin] ” In a perfect world, you’d just hit “send to Logic” and there you are. Just like MC->ProTools or Premiere->Audition. I too like decent audio monitoring and the ability to get a good mix while cutting, and I think most NLE’s, even X, provide that capability. I don’t want an Uber App that does everything, but that’s a personal preference..”
Charlie,
In a perfect world, we wouldn’t have to switch applications, worry about translating, creating new projects in each application, maintaining parity, reconfirming after changes, etc. etc. etc.
If we’re talking about ideals, I’m surprised you would limit your ideal to “send to other application”. My ideal would be to have all the tools I need available when I need them, and hidden when I don’t, without any negative implications for performance, and without having to deal with translating from one application to another. That’s my “perfect world”.
Franz.
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[Carsten Orlt] ” Do you have to move them after you put them on standard V1 A1-2″
Carsten,
… All the time.
Franz.
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[Charlie Austin] “I’m a KB shortcut kind of guy when chopping things in…”
Charlie,
Select All, drag to timeline. KB shortcuts from there on in …
Franz.
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[Chris Harlan] ” I triangulate my near-fields, use dampeners, the whole 9 yards.”
Chris,
I only go about 4 yards or so. Sometimes 8 yards (on one of the systems I use). Dampeners is hard core.
Franz.
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[Carsten Orlt] “Exactly. I think many oversee the fact that X doesn’t have a patch panel. That is in my opinion the whole reason the timeline is the way it is. To get rid of it. No more thinking every time I add a clip to where the audio should go.”
Carsten,
I’ll repeat once again that I’ve been cutting in FCP since V2 and I never, never use the patch panel.
Franz.
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[Charlie Austin] “A lot of the criticism of the magnetic timeline is based on the principle that editing is a linear thing only.”
Charlie,
I don’t understand what you’re saying here.
[Charlie Austin] “I really think that cutting picture and cutting/mixing audio are two very different beasts.”
Agreed. Most typically the focus of picture cuts is serial, while audio editing is as least as much parallel (mixing) as serial (if not more). Further, there are different types of parallel for both picture and sound.
[Charlie Austin] “(Although to be fair, I never wanted to do a final audio mix in any NLE… why would you? but that’s just me.)”
I don’t understand those who want to limit the capabilities of NLEs – in principal – in deference to dedicated DAWs. But then I’m one of a seeming few editors that insist on part-way decent audio monitors at good level while I cut.
Doesn’t your statement speak to poor implementation of audio capabilities in NLEs?
Imagine a “mix” mode that hides most function except tracks and a mixer.
There are those who would never want to do final colour in an NLE – and those who want good colour tools available in the NLE as they work. Why limit one in favour of the other?
[Charlie Austin] “I think the premise that editing is strictly a linear craft, is false”
Agreed.
[Charlie Austin] “Dialog, Multiple FX, even Music gets cut based on what’s happening vertically above it.”
And also the other way round.
[Charlie Austin] “And any linear rearrangement of picture clips means that all the vertically associated bits, audio and video, have to move with them. preferably not screwing up any other bits.”
If by “linear” you mean “serial”, this is sometimes true. But not always and not for “any” rearrangement. The change might easily involve a rearrangement of parallel association. So while sync and faux-sync elements are likely not to change, a music cue may well change. Likewise an off-screen door. Likewise an onscreen I.D. Grouping tends to be fluid.
I wrote an index of clip relationships a while back in response to a David Lawrence post – it wasn’t really clear to me why I was doing it, but I think there is a hierarchy of grouping that comes into play (so sync is less likely to be broken, while music relationships more likely to slip, though a certain piece may be associated with one scene, etc.)
David Lawrence has written elsewhere on how grouping does not depend on magnetic behavior.
Massive related thread here: https://forums.creativecow.net/thread/335/41526#41526[Charlie Austin] “That’s why we have trim tools right?”
Having never used the trim tool for this purpose (and almost never at all) I would have to disagree.
Also, to your earlier complaints of having to patch constantly – I will say again that I never patch. I can’t imagine that tedium.
That said, I find roles interesting – and groups. I’m constantly shifting things around in ever-changing groups, and some tools that allowed me to do that more efficiently would be welcome.
Franz.