[Herb Sevush]

[Bill Davis] “I just clone the shot, crop it to a neutral area or similar part of the existing frame and and slide that over the unwanted content as a quick mask.”

Well yes, that’s the way to do it for the easy fixes, but often I get something for which there is no adequate pre-existing video to use. An offending bottle is on a crowded counter-top next to a window looking out on a street – there is no way to match the angle of the backgrounds and the content of the window with anything else in your shot – your have to “create” the background, there is nothing to steal. Or you need to create a new “faux” label to replace a trademarked one, faux logo and all. Photoshop, or any of it’s equivalents, will run rings around anything you can do strictly within any NLE. I’d rather stay within a given Ap, but a hammer is not the answer for all problems, sometimes you need a drill.

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

[Herb Sevush]

[Bill Davis] “The primary tool I use that makes me less dependent on Photoshop is called “a designer” (teasing) – seriously, I seldom do that type of work myself. I do constantly get graphic designs form artists (typically west coast folk) and use the type and graphics tools in X to re-create their designs directly in the program so I have editorial control for changes. Using X’s built in keening, leding, and similar tools to match pro designs to my video raster is something I do reasonably often. It’s consistent with my preference not to have to leave the program as my deadlines approach.”

I wasn’t focusing on Photoshop as a CG program as much as in it’s ability to alter static images in ways that I can’t within an NLE. Say I have a locked off shot of someone cooking behind a counter and there’s a product on the side that I want to get rid of. If there’s no action in that part of the shot the simplest thing is to create a still image, take it to photoshop, use a clone tool to erase the errant product and fill in the frame around it, then bring it back into my timeline and crop out that area of the shot – I never seen those types of cloning or drawing tools within any NLE I’ve ever worked with. You could do product removal with Mocha, or something similar, but that’s still leaving your base NLE.

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

[Herb Sevush]

[Bill Davis] “So trying to spin this as “now it finally works” is unadulterated BS and a bit “sour grapy” IMO

And I suspect that deep down, you know that Herb.”

I didn’t say “now it finally works,” Mads did. If you have a problem with that phrase maybe you shouldn’t have posted it. Given the other posts I see that this was a reference to something that had been lost in a recent update, a common occurrence in all software, and I understand it in context. On the other hand it was a little questionable to leave that bit of the quote out, gets one to wondering.

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

[Herb Sevush]

[Bill Davis] “”I kid you not when I say this this, for us at Metronome and basically anyone who works with FCPX in the pro television industry, doing shows/long-form projects, also including anyone cutting feature films, FCPX 10.3.2 is one of the most, if not the most important release of FCPX, ever since the initial launch.””

Funny how you cut the quote off at this point. I think I’ll remedy that by finishing the quote –

“Even surpassing 10.3. Now we are actually ABLE to work in the timeline. Now the snappiness of FCPX also applies to us.”

WOW, they can now actually “work in the timeline.” What an advance in NLE software design, what was I thinking of ever using anything else. So according to one of it’s better known proponents it’s taken 5 years for X to be suitable for long form work. Well, I guess that is progress.

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

[Herb Sevush]

[Bill Davis] “Its just that NOT waiting for traditional stuff like that is likely why the X team has managed to keep the innovation flowing with stuff like the deep Roles re-build in 10.3.”

But you made this same argument for why it wasn’t important to do the Roles re-build – in fact you’ve made this same argument every time anyone, anywhere, asked for any changes to X “your just stuck in the old ways, I want the developers to push forward.”

Maybe pushing forward is building an innovative way to handle sync indicators that was never seen before, and this new capability will be useful in ways you’ve never thought of. For someone so happy to reach for the new you act like someone afraid to leave hold of what you have – the new you are now protecting is so yesterday.

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

[Herb Sevush]

[Bill Davis] “I don’t currently value that type of “learn 6 programs and switch between them daily” approach if I can possibly avoid it.”

While I agree with your overall concept of trying to do as much as possible within your core NLE, what tools do you have in X that make it possible for you to avoid using something like Photoshop? Personally I’m not great with it and I avoid it when I can, but I doubt a week goes by that I don’t need to use Photoshop for something work related. The same goes for AE/Motion – I do most of my effects in PPro but sometimes I’m working on a piece that cries out for something heavier – do you never use Motion? On the audio side I use Audition constantly but in X I know that you can use Izotope RX5 as a plug-in and do the same kind of work – but even though it acts as a plug-in, in reality it’s a totally separate audio gui. Just curious as to how you can do everything within X.

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

[Herb Sevush]

[John Rofrano] “Who are they designing for?”

Apple’s design ideal is a 14 year old – committed consumers driven by the need to be cool and who seek approval from those around them. Obsessively slim and sleek their products are as androgynous, if not anorexic, as their target user. For Apple, if a 14 yer old can’t figure out how to use it, it’s too complicated, if they can’t put it in their pocket, it’s too large. Emoticons are better than words and legacy ports are so yesterday for someone who was literally born yesterday. It is not surprising that the circular mac pro went for cool over competence even though they dressed it all in black — I assume they thought they were making something for their ideal customer’s older sister.

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

[Herb Sevush]

Aindreas,

Welcome back !

Just in time; things have been too sane for too long.

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

[Herb Sevush]

[Charlie Austin] “[Herb Sevush] “predict the Surface and Surface Studio are just the tools to enable that move.”””

I don’t know where you got that quote, but it definitely wasn’t from me. I’m an old troglodyte with short stumpy mangled fingers that wouldn’t use a touch screen on a bet. I’ve never predicted anything about the Surface Studio and, other than as a comparison to Apple’s touch bar, something else I have no interest in, I have no interest in it. Long live the keyboard and the mouse!

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

[Herb Sevush]

[Brendan Plake] “is it possible to export all angles to one video file and deliver that to the client?”

No. It’s been asked for before — put it in as a feature request and maybe you’ll see it in future versions.

If you want to send a string out with all cameras visible it wouldn’t be hard to do by taking each multicam source and resizing the various cameras. Once you figured out the x,y,scale for a single group it would be easy to copy and paste to all the others.

If your talking about sending a rough cut with all alternative cameras marked, then you’d have a lot of work to do.

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