Herb Sevush
22
COW Coins
20
Premiere Pro Coins
Forum Replies Created
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[Martin Kruul] “When you say I should use a better keyer, what do you specifically have in mind?”
https://fxfactory.com/info/hawaikikeyer/
Simon didn’t mention this, probably because he’s too modest to mention he is the software designer who created it, but it’s a great keyer.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Bill Davis] “Hey! While we’re at it let’s get REAL BUTTONS back on our damn cel phones too!”
Sometimes buttons are better for some people, even if they’re not better for you. That’s why options are always nice.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[andy patterson] ” I am not saying tethering FCPX to Motion does not work but perhaps I can provide a few examples where FCPX and Motion make somethings more complex than they need to be”
Cherry picking instances where one NLE is slightly faster than another is pointless. If you need to be in the optimum efficient NLE for every single aspect of your work then I suggest you get comfortable using 8-10 different NLEs on every project. The question is can you efficiently get all of your work done in the ecosystem of a given NLE – if the answer is yes, then it doesn’t matter if that ecosystem uses plug-ins or dynamic links or any other way to connect the various tools you need to complete your work.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[andy patterson] ” I am saying the FCPX/Motion connection is overhyped because you shouldn’t need to use two programs to create simple titles form start to finish for FCPX.”
This is a false distinction. The Ppro titler (which I like, by the way) bears no UI relationship with anything else in Ppro. It acts like a third party plug-in that just so happens to be included in the NLE. As long as the operation for the editor is fluid it does not matter how many programs or plug-ins are involved, in fact it can be hard to tell the difference. The only meaningful question to be asked is does the workflow allow for a fluid way to solve the problem? If the answer is yes it doesn’t matter how you label the various component parts – plug-in, dynamic link, Ppro Panel – if it works together it works. If they included Motion as a “room” within FCPX the way the Ppro Titler is a “room” within Ppro would that somehow make it better?
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
I’m spending my Sunday mowing the lawn, reading a book on my hammock as I watch the Hudson River flow by, and then getting ready for Yanks-BoSox, because I spent the previous week not working in FCPX and therefore don’t have to work on Sunday. (Just kidding Bill — sort of.)
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
Daniel,
From looking at your timeline I’m guessing that each of your 2 camera clips has 4 channels of audio, for a total of 8 channels, and you are not using “double system” recorders for audio. If my assumption is correct then the following should help you.
When creating a multicam source in Ppro a dialogue box comes up taking you through various options. In the middle of that box you get to the audio section and the crucial thing here is the “Sequence Settings.” There are 3 options here, “Camera 1”, “All Cameras”, and “Switch Audio.” Looking at your timeline it’s obvious (to me) that you chose “Camera 1” which is the worst possible choice for what you want to do. “Camera 1” only uses the audio from the first camera of your multicam source or the audio from a double-system audio recorder if one was used. Which is why all but the first 2 channels are muted in your multicam timeline. Camera 1 is perfect if only one camera is recording sound or if you are going with a separate audio recorder but is terrible for what you are trying to do.
All Cameras gives you all of the audio, in your case 8 channels, recorded onto 8 separate audio tracks in your timeline. If you want to work with all 8 tracks of audio all the time, this is the choice for you.
Switch Audio allows you to chose which of the original 8 tracks you want to hear recorded onto 4 tracks in your final timeline. That means that in your final timeline there will be audio sent to tracks 1-4 but you chose which of your two cameras those 4 tracks come from. And once edited into your timeline it is as simple to switch the audio between the two cameras as it is to switch the video.
Once a multicam timeline is made you cannot switch between these modes, so I would suggest you make a few sample mulitcam sources each of “All Cameras” and “Switch Audio” to determine which will work best for you.
Good luck.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Mark Suszko] “VR is a big shot in the arm for old roller-coaster rides, which now suddenly can become virtual space dogfights, Indiana Jones mine car chases, a Fantastic Voyage thru the circularity system… all on the same day, different experience each ride.”
If you’ve ever been to the “Body Wars” pavilion at Epcott center you would understand that with VR glasses you not only don’t need a real location, you don’t even need a true roller-coaster to create the experiences you are talking about.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Bill Davis] “The next stage may be how much of the expected back end processes now start to collapse toward the shoot. Will there be an assistant editor on-set tagging selects as they are shot? If he or she is talented and assembles scenes with a refined esthetic, will that be a place the editor needs to eventually move so they can remain relevant?”
The need for “on-set” editing has to do with making sure cuts work and coverage is complete, especially for action sequences. Nothing “aesthetically refined” goes on until you get back to the edit room where the editor and director are taking the time to get things right.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Oliver Peters] “My fear though, is that with the next update – whenever that might be – we’ll get something flashy, but useless, like 3D Stereo/AR/VR bolted into FCPX.”
Which makes it just like Adobe with Ppro, and most other (non BMD) NLE companies. VR is the new 3D, and just as important to most editor’s workflow, which is to say, not at all.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
But wait, you mean he cut this on Avid? How was that possible? We all know that Avid is slow and pre-historic, I thought it was positively illegal to use Avid on a laptop, like the “coolness” values of Avid were too low to for a macbook pro to work with, and it would spit out the software like it had eaten a bad burrito. There must be some mistake, he must have been cutting this on X without realizing it.
Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf