[Herb Sevush]

[tony west] “When I look at videos from Steve Martin (ripple training) he is very excited about X. He’s a very talented editor and his enthusiasm gives me hope for the future.”

Not meaning to rain on your parade, and this is not specific really to X, but Steve Martin is a “professional trainer,” his enthusiasm is part of his job description. It’s like taking a cue from the enthusiasm of a car dealer – even if his car is known to catch fire upon ignition, he’s the last guy who’s going to tell you.

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

[Herb Sevush]

Hilariously on target. Thanks.

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

[Herb Sevush]

[Bill Davis] “BTW, all of these projects live comfortably on a single 750 gig portable Segate Firewiire 800 drive the size of my wallet including clones of all the source footage.”

Which is one of the reasons X works for you. My work requires a 16 Terabyte Raid that needs to be about 10x as fast as your drive and sits in an enclosure about 70% as large as my Mac Pro tower. Even so, this storage is only good for one years work. Different tools for different needs; although I always thought one of the strengths of Legacy was it’s ability to handle many different types of work effectively. The swiss army knife approach vs. the many specific tools approach.

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

[Herb Sevush]

[Chris Harlan] ” I was also a big fan of all the Sonic Foundry (now Sony) stuff.”

I have a PC networked to my Mac mostly so I can still use Sound Forge, my swiss army knife of audio editing and processing. Great program.

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

[Herb Sevush]

[tony west] “I would have liked to have done it in X so I could put it to that type of test. I’m pretty confident I could have got it done.”

I’m sure you could, the question is, in my situation, why would I want to, since there are better systems for cutting this type of material that are already out there. For this type of job Legacy is way better. The right tool for the right job.

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

[Herb Sevush]

[tony west] ” can you repair the audio on that clip before you start your multi-cam edit since it’s hard to do once you get in there.”

It doesn’t work that way, the entire edit is done in multi-cam mode, you don’t start in one mode and then switch later on. Also I never know what I’m going to have to fix till I make the edits.

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

[Herb Sevush]

[tony west] “when you have a big muti-cam shoots with many mics, that sound is mixed down before the editor gets it. so that’s a job that X could handle also.”

I cut multi-cam cooking shows, 5 cameras lately. Generally 2, sometimes 3 people cooking at once. There is a mixed track that I send to all of the cameras, plus there are 3 iso tracks plus iso tracks from 2 EFX shotgun mics mounted in the kitchen that are spread out over the remaining available camera tracks.

When cutting I use the mixed tracks 90 % of the time. But when I need to go to the iso’s it’s generally for repairing audio and the cuts run from 3 frames to 30 seconds. I have dozens of these cuts in each show, where I need to replace ch1 Cam A audio with ch2 Cam C audio. I also need to refind sync if I decide to go from a cover shot back to a WS. By all counts X is not suited to this task. Legacy was, Avid is, Discreet *edit could do this 10 years ago – this is not an unusual workflow for multi-cam.

So yes, most truck shoots have a mixed track to work with, but no, that doesn’t get around the problem of cutting those shows with X unless the mixed track is perfect. Needless to say, I have never seen a perfect mixed track in the last 20 years of doing this.

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

[Herb Sevush]

[Michael Gissing] “There has been ADR auto syncing software available for DAWs for over a decade so I see this as a curio and somewhat of a gimmick.”

Lets say your cutting some dialogue and you want to cut out after person A says “food”, but you can’t because person B begins speaking over the word. This happens to me all the time and my first try is to find another instance of person A saying “food” in the clear and dropping it in. This tool would help make the match easier and save a bit of time. This also allows for a simple audio record of replacement lines without having to go to an ADR studio. It’s not a big deal, but I like it.

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

[Herb Sevush]

[Lance Bachelder] “Way to use a old video clip to get a couple of left-wing, anti-Christian hate-speak jabs in there “

To take him literally he’s also anti coca cola and anti babies, but apparently that doesn’t bother you. There was only humor in his remarks, you’d have to do a lot of stretching to call it hate.

Here, I’ll even it up for you –

“and MSNBC is the best tv ever
and Bill Maher is the most atheist ever.”

– now the political cards are all evened out and we can all go to sleep.

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

[Herb Sevush]

[David Lawrence] “Yep, one smart and articulate dude. Here’s his site. And here’s what he wrote on June 23. “

Thanks for the link. It’s fascinating how much that critique holds up over time.

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