[Herb Sevush]

[Scott Witthaus] “It’s like the creeping bloat of the CC as a whole. I want a good editor. I don’t need a “social panel” nor VR. Nor do I need 75% of the rest of the cloud. I want a solid, fast editing platform where I decide how to expand, not paying Adobe to decide for me.”

With Adobe you only download the aps you want, so what do I care how many other aps they make for CC.

Within Ppro I haven’t noticed any “slowing down” when they add features. Those features are invisible to me as I go about my daily work. And who knows, someday when my workflow changes I might be very happy they are there.

Not interested in VR (and really, who is?) – it’s invisible to me. Don’t use close captioning; I still don’t know where they keep it. Don’t want to use their stock footage services? Then don’t. No interest in their new Graphics Panel ? Just stick with the old legacy tittler. The new features neither slow me down nor get in my way.

I probably use less than half the features available with any software I use – Word, Excel, Ppro, Ae, Photoshop – so why get all upset about it.

I really don’t get it.

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

[Herb Sevush]

[Scott Witthaus] “let’s hope Apple keeps focusing on a product that is fast, stable and works. One that can be expanded with approved plug-ins for those who need it, not bloating the core software.”

What is this obsession many of you X guys have with “not bloating the software.” Unless your a programmer I venture to guess that you don’t have the slightest idea of what “bloats” the software or not. I keep hearing this refrain whenever someone mentions a feature that you are not personally invested in. Why not ask for features and expect that Apple, or any NLE provider, do it elegantly. It’s not a zero sum game – you can get what you want, others can get what they want, and the software can still work efficiently.

I’m not interested in VR. Every time Adobe announces more features for VR in Premiere I think it’s a waste of time. But I’m not running around saying “oh no, you provided VR, and now my software is too bloated to move.” It’s a feature I don’t use but I expect that it s designed properly and won’t interfere with what I do use.

I get that you don’t want to have to pay for additional features but i don’t get this fear that if the NLE adds additional features that it will somehow ruin the whole ap.

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

[Herb Sevush]

[Bill Davis] “You really should have explored X a bit more Herb.”

The exploration I did do left me very impressed with many FCPX features. Ppro, and Legacy before it, are very far from perfect. Still if I envy anything about X it would be Auditions. That is something I would use on a regular basis that has no corolate in any other NLE.

[Bill Davis] “And the timeline index makes global transition removal a snap.”

I’m hoping there is more than a global removal, I’m hoping there will be a “remove all transitions in selected area,” as there was in Legacy. That’s the functionality I really want.

[Bill Davis] “I do hope we never do “confetti” timelines, tho, so no joy there.
“

If your referring to the increased label colors, they don’t show up in the timeline, they are more like the color lables in OSX Finder – you can add a color box and assign it to certain properties – sequences are green, audio only clips blue, gfx are yellow – but they only show up in the media browser window and do not carry thru to the timelines in anyway. They’re helpful in visually organizing your assets, just as in the Finder window. Visual organization is a big thing for me, YMMV.

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

[Herb Sevush]

Project sharing is nice, but “remove all gaps” is closer to my heart, not to mention the 8 xtra label colors. Now if only I can get “remove all/selected transitions” I can die a happy man.

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

[Herb Sevush]

[finbar taub] “I am having trouble seeing how I can make a bin that comes up on any project I am in. I know how to make a new bin in my project panel, but that seems to be specific to that project. I need a bin with my audio and video clips in it that will always be accessible in every project I work on.”

The simplest technique for doing what you want is to create a “template project.” This project should have only those “generic” items that you always want to have on hand for all your work. This can include bins and sequences, each customized by you. But it should contain nothing else.

To start a new project simply open the template, save it with a new name for your current project and then begin. Always start with the template, and then always re-name the template before you start importing and working on your new project.

If you have already started a project without using the template, no problem. Create the template as described. Next go into your current project, open the Media Browser tab, find and select the “template project”, right click and choose “import.” If you want to be selective and only chose some elements of your template project to bring into your new project the Media Browser will allow that as well.

Ppro is very good about allowing you to access all sorts of elements from other projects into your current work through the Media Browser.

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

[Herb Sevush]

[greg janza] “I’d suggest 2&3. 1&4 won’t have much effect on renders.”

My understanding is that while the GFX card influences “real time” play of the timeline it has little or no effect on final export render times. The main hardware influence for exporting is the CPU and the most important consideration there is clock speed, not number of cores.

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

[Herb Sevush]

[Scott Witthaus] ” many of us try to make things too complex in the jobs we do, therefore we think we need overly complex tools. Why?”

Tools have gotten more complex because expectations have gotten more complex.

In video it used to be that the “look” was baked in, and the whole idea of “grading” was some pipe dream from the world of film. Now everyone, especially the wedding videographer, is shooting flat or raw and grading is an expectation. Same with audio – either you sent it out to Pro-Tools (if you had the budget) or else you just worried about levels. Now I am routinely asked to lower ambient background noise and remove beeping phones from the middle of dialogue and that’s for the rough cut.

Tools like Mocha, Colorista and Izotope RX are essential to my day to day and 20% of my notes are about color correction and product label removal that need mask tracking. These tools allow for more choices, as shots and audio that were once unusable now become serious options.

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

[Herb Sevush]

[Andrew Kimery] ” For years I used Colorista for my in-NLE grading needs (both in PPro and FCP Legend), but I haven’t thought about it since the second round of Lumetri updates.”

I just don’t “get” the logic behind the Lumetri controls. I much prefer Colorista. Lumetri doesn’t have a keyer, the vignetter can’t be off-set from center – it acts like a stills color corrector adapted for video. I find Colorista IV to be worth paying for even though Lumetri is free.

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

[Herb Sevush]

[greg janza] “i just learned about this product. From the reviews it sure seems like it works.”

I bought the Pallette because it has the ability to delete all effects in a selected range of clips – something that cannot be done in Ppro in any other way – no keyboard commands or mouse clicking can do this. As far as I can see this is the ony such instance of a “mssing” Ppro command being available with the Palette.

If you want it to control things like opacity levels, clip or track volume levels, or any of the Lumettri controls it works pretty well – there’s some latency issues and at times Ppro “forgets” that it’s there and has to be reminded by going to the Extensions command in Ppro, but it works.

You can order any combination of Buttons, Faders and Rotating dials that you want. I’ve ended up only using the Buttons on a regular basis and rarely use the fader or dials, so I would suggest if you want to try it you go slowly and see what works for you.

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

[Herb Sevush]

[Bill Davis] “You see the clip when you import it.

You see it again when you string it out.

You see it again and again and again as you visually scan that lovely string out – back and forth – over and over like a hungry man approaches a buffet stocked with delicacies!

You see it again when you “pancake” that special clip into your timeline.

oh, I’ve made the CHOICE! (shiver) I do so hope it works.

Are we being nourished yet?

Wait, it needs SEASONING. I must trim and flavor it MORE. Until it’s sublime.

The software is helping me build a SPECIAL relationship with that shot. Shot? No, visual food for my very soul.

Until that MAGIC moment it becomes a glorious part of MY CREATION (longer shiver)

THIS IS EDITING!!!!!”

Without the ability to see and consider every single clip almost endlessly – juxtaposed (just so!) how can any truly qualified cutter make a decent creative decision about it?”

Bill, I’m so glad your time on this board has taught you something about your chosen profession. Minus the culinary hyperbole this insight, if applied to ones work, can do wonders in improving ones craft. Bravo.

[Bill Davis] ” Anyone who just wants to have that clip visually hidden away (sob) until the instant you “keyword call it up” directly into your timeline – is hack and a fool and doesn’t understand this business…

It’s FAST FOOD editing. For the damaged and the soulless.

The Heathens. “

Now, now, we leave all the degradation and name calling to the “fanboy” types. Fast food has a very profitable place in the world and somebody has to make it, and if that someone is you, then just remember to add some special sauce and top it with a brioche.

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