[Herb Sevush]

[gary adcock] “On the later models ie: Mini, Rack or Quad units can record a compatible version of DNX ( OP1a ) in both HD and SD ( the only formats supported by DNX )”

I’m talking about later models like the rack – I know they can record in DNxHD, which is what I would like to do, but can they record it in an MFX wrapper or only a Quicktime, .MOV, wrapper?

Currently we use 5 KiPros to record our multi-camera studio segments. Right now we record in ProRes for use in FCP7. We are planning on switching to a new platform next year for editing. Avid would be the main contender but for the fact that I’ve been warned that AMA is a PITA and I don’t want to have to re-wrap 14 Terrabytes of material from Quicktime to MXF just to start editing. If the KiPros could record DNx in an MXF wrapper I would go that way in a heartbeat. Currently i find nothing on the AJA site to indicate that MXF is a possibility, are you saying it is?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Oliver Peters] “If my B-roll shots are still fluid as to their order, then leaving them as connected clips is better until I lock things in. Easier to shuffle the order. However, in that same situation, I would use V2 and higher tracks in MC, FCP7 or PPro. Then, when locked, I cut them down to V1. Essentially the same process in FCP X.”

I will use upper level tracks to play around with while I’m first creating a sequence, but the moment I’m comfortable with the edit I drop them down to track 1. I won’t move down the timeline till I have cleaned up everything up to that point. This is still at the rough cut stage. If I need to revise it’s child’s play to restore the original sync video, at least in Legacy. Anything on my timeline on a higher track is either GFX or a composite EFX, making it very easy to find them visually. But it sounds like I could still use that strategy in X without penalty, which is good to know.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Oliver Peters] “In FCP X you can cut B-roll as a connected clip, but then use Overwrite to Storyline to drop it down into the Storyline. This leaves you with a nice, clean “single-track” (video) timeline and doesn’t erase the audio, which remains split under the picture.”

I’m guessing that by doing this you loose a lot of the magnetic magic of moving things around. In other words I’m sure you can do this in X, but for someone who routinely works this way, what’s the advantage of doing it in X vs Avid or PPro.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Jeremy Garchow] “If you cut dialog, you can load up all takes of one scene/camera angle in one clip and have all of those takes available to you on the timeline. All of these appear as one clip on the timeline. If the director comes in and says, ” I know we had that one take where her arm was higher and not blocking the light” you find it in the Audition clip, select it, and bring it to the front. Because of the magnetic timeline , everything else stays in tact, relationally. There’s no moving or awkward replacing, just really useful editing. Any ins and outs or timing changes stays with EACH take, so if one take is a little longer or shorter, the magnetic timeline simply adjusts. “

The single new feature I am most envious of in X.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[David Powell] “The X drawback is you cannot finalize multi-clip edits and you can’t matchframe back to the original clip, so you lose time here if you need to stabilize or do a slo-mo affect.”

Do you mean to say you can’t add effects to a multiclip in X?
If you need a slo mo in a multiclip then how do you do it?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Jeff Kay] ” I simply do not see a value in having B-roll in another track. To me it clutters the timeline, taking up valuable screen real estate with more video tracks, while should a change need to be made, it opens up increased likelihood of pieces getting out of line, simple fast trims can still restore the primary footage; basically I see no reason for there to be anything on the timeline that is completely hidden all that can do is lead to confusion further down the road. I will certainly use more than 1 video track if I need to, but keeping footage all in one track allows me to work better.”

Couldn’t agree more. Possibly my lack of interest in the magnetic timeline is based on this aspect of my workflow. Interesting.

All in all, nice post.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Dave Pentecost] “I was one of the early proponents of EMC in the networks in New York.”

Always good to hear from a fellow EMC’r. Most editors falsely assume that Avid was the first digital NLE. I always thought that the EMC was the betamax of NLE’s: first out, best quality, but out marketed and soon forgotten.

[Dave Pentecost] “I think our team at CBS News Productions was the first to edit a whole series and output directly for air from the machines.”

Interesting. I never used the EMC for air, I didn’t think the video quality was good enough, although I did use the audio output in a fairly unique workflow that I came up with. You didn’t mind the video artifacting and the lack of any real CG?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Bill Davis] “It can certainly be seen this way – particularly from someone who has little or no appreciation of the many other benefits you get from the same “rigid ID/Location database” requirments that may be causing you not to be able to work the way you have in the past.”

It might well be true that the overall strengths of the data base model are more significant than the weakness of it’s inflexibility in re-linking, but that doesn’t stop that inflexibility from being a weakness.

Every NLE has strengths and weaknesses, often the weaknesses are caused by the strengths, but when evaluating an NLE they are what they are.

One weakness doesn’t abrogate X as a tool, but constantly denying the obvious lessons you as a defender.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Ronny Courtens] “and then you blame FCPX for not being able to re-import media that you have screwed up with XMP ID? Okay…”

Can other NLE’s handle this situation – yes. Can FCPX handle this situation – if the answer is no, then that’s a weakness in X. Part of a software’s value is in helping you overcome your own, or your clients, stupidity. Pointing a finger and blaming someone else for not doing things properly may be very self satisfying, but it doesn’t help you solve the problem once it’s happened. Preventing problems is always to be preferred, but sometimes you have to solve the problem you have.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Ivan Myles] “The Spectral Noise Reduction effect can filter three different frequencies. Apply multiple instances if there are more to be addressed.”

Thank you.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf