Herb Sevush
22
COW Coins
20
Premiere Pro Coins
Forum Replies Created
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[Jeremy Garchow] “I also really enjoy the color board, and shockingly, I don’t miss color wheels too terribly. It is more difficult when looking at a vectorscope to try and skew a color in or out with the color board. Perhaps they need a square vectorscope to match the color board? 🙂 I’m kidding of course. Kind of.”
I’m addicted to Colorista II, won’t leave home without it, so the type of native CC in any app is mostly irrelevant to me.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[James Ewart] “Me too. I used to find it confusing because it was so different but I know where all my audio is”
I understand that you can recognize that you have audio as opposed to video but how do you recognize which clip is sync dialogue, which is dialogue out of sync, which is sync audio efx and which is non sync audio efx, which is music, and if you have your music in layers, which is your drums as opposed to your guitar? I can tell all that by glancing at my timeline, without any need to “read” any labels or index. How do you manage to do that in X?
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Charlie Austin] “I do wish there was a way to automatically pin mx to the bottom and dia to the top or something,”
Yes, that would change my whole outlook on the trackless idea.
[Charlie Austin] “I should probably qualify this by saying that, other than keeping cut music together at the bottom and VO/DIA near the top, (do-able in X as well with a tiny workaround) I don’t have a very organized timeline in any NLE when I’m cutting.”
I think this has a lot to do with your acceptance of trackless, since you didn’t use tracks as an organizing tool before, your not missing anything now while gaining everything that X has to offer. In your case X makes a lot of sense.
[Charlie Austin] “I rarely, if ever, have less than 16-24 audio “tracks” in my timeline. often more. So that probably colors my preference…”
I would think so. I’m generally cutting with 6 to 8 tracks, but on those occasions when I’m using much more I have a specific layout that dedicates one monitor (I have dual 23″ screens) totally to the timeline. 16 tracks are no problem that way, I haven’t tried it with 24.
As I said to Jeremy, I do find these conversations about specific workflows very interesting and enlightening.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Charlie Austin] “this is subjective, but clip names are easier to read, the rectified, dynamic waveforms are easier to read at a glance, (easier than they are in Pr to me), and the timeline index is really nicely implemented.”
That’s the point, you have to actually read the clip names – in a tracked layout I can figure out whats going on just by glancing at the layout – much faster than having to read anything.
As for waveforms – my old favorite, now long dead NLE, *edit, had a wonderful feature whereby you could easily amplify the waveform as much as you wanted, in discreet steps, so that you could make out as much detail as you wanted in quiet passages. You could apply these changes to a selected clip, to a complete track, or to all audio at once. Wish I had that feature now.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[James Ewart] “What’s the actual downside here?”
I don’t understand you, what’s the downside to what?
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jeremy Garchow] “One of my absolute favorite parts of FCPX, in the case of dialogue editing, is taking the time up front to choose audio channels which you can do to a number of selected clips at once (if you have 50 clips and want to modify all of the audio channels at once, you can do that as long as the clips have a similar audio channel config to start with). So, let’s say that I want to use the boom for everything. I can select (and name) the boom channel, tune off everything else, and every time I use a clip from the browser, my named audio channel is added. If I take the time up front and make decisions, those decisions will follow all the way through the edit. Think of this way, I never really have to think abut audio organization again.”
Very interesting post. It’s always interesting to hear about the different workflows other editors use.
Given that I’m generally editing shoots that I’ve directed, I’ve worked out my audio preferences before production begins and changing patching only happens when I’m correcting an audio problem that needs one of the alternative tracks. Your workflow wouldn’t help me at all, but it seems quite reasonable.
[Jeremy Garchow] “Now, very often my sound mixer will want all the available channels to do a sound mix (boom, lav, and sometimes even the camera mic), so when I need to send out an AAF, I can select all the dialogue clips, non destructively turn on the other channels, and make an AAF. My timeline looks exactly the same after that process in FCPX.”
That’s fabulous, a real time saver.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Charlie Austin] “Before you cut something in to the timeline in your NLE, do you have to make sure that the correct audio tracks are included or not, and make sure you’re not going to overwrite existing clips in the timeline?”
Rarely, sometimes, occasionally, often – all depending on the situation.
But I think you’re working around a more interesting question- what does it mean to “make a cut?”
Are you talking about the mental decision or the mechanics of the act. While the mechanics may sometimes be improved with the magnetic timeline, does that ease come at the cost of a loss of clarity in your decision making due to the “fuzzy” information the magnetic timeline brings? Yes you don’t have to patch your audio with X, but then your left with a mess of audio lanes that supply much less visual feedback then a tracked system. Your not getting something for nothing here, your trading mechanical ease for visual clutter, a trade that some might find worth it and others not.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Mercalli Pro 2 is much better and faster than Lock & Load. I owned L&L and recently switched to Mercalli.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Chris –
First of all thank you for trying to defend me, but I think this should stop. We are in a situation where people from all sides of the argument have asked Andy to moderate his tone and given that he has even gotten Walter into a position where he has shown annoyance I believe the best solution, as with any infantile behavior, is just to ignore the outbursts. “I know you are but what am I” feeds on angry responses and will die from their lack. And the quieter it gets, the louder the sound of his failure to respond to the reasonable questions he was being asked. Obviously he has painted himself into a corner of his own devising and is just howling away to distract notice.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Andy Branner] “Santiago MartÃ] “you need to do 4K multicam, you can do it now,”
Yeah, it’s just a bummer that it’s not anywhere near FULL-RES, which is the entire point of the thread. Again, reading comprehension.”No, that is not the point of this thread, since you’ve made it quite clear that FCPX uses Proxies, not 4K streams, and that as long as the multicam angles were “recognizable” they were good enough for the job.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf