[Herb Sevush]

[Robin S. Kurz] “Nope. At least not with my stabilizer, since it has dynamic scaling. If nothing is being stabilized, nothing is being scaled. Not a thing scary about it. See: Lock & Load.”

The thing that was scary was having this conversation in the first place. I don’t have to “See: Lock & Load” since I own it and use it, along with other stabilizers, since each has their strengths and weaknesses. First of all Bill was talking about working with the native stabilizer in FCPX. Second, even with the key framing available within L&L stabilizing entire clips before creating your multicam is simply bad practice, which you seem to agree with later in your post.

[Robin S. Kurz] “But yeah, not a workflow I would recommend using the standard stabilizer.”

So does this mean you would recommend doing this WITH L&L? Do your really stabilize all your clips before creating multiclips? Or is this simply another case of you being argumentative for no reason?

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

[Herb Sevush]

[Robin S. Kurz] “Recently had to do a multicam with CC and it was a painfully frustrating, convoluted, unintuitive mess in comparison”

Like many complex things, CC multicam can be unintuitive depending on the nature of your materials. What precisely were you having problems with?

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

[Herb Sevush]

[Bill Davis] “Wouldn’t we have known during prepping our clips for Multicam editing that we should apply stabilization (or have the AEs do it!) via Open in Timeline) before our multiclips are created?”

This is so wrong it’s scary. Stabilization is something to be applied sparingly in that it often doesn’t work the way you expected and it changes the composition of the entire clip it is applied too, even if the fault you were seeking to fix is in only one place.

Imagine a 5 minute CU clip of a pot being put on a stove, ingredients added, and then the pot being taken away and in the middle of that shot there is a camera bump. This is one angle of a 5 camera multicam group.

According to your suggestion we should stabilize this whole shot before even knowing if we need that angle at the time of the camera bump.

What would happen to that clip if we tried that – well first the stabilizer would go a little crazy when the pot was brought into the frame as it sought to stabilize the moving pot, then it would settle down into a much tighter framing for the length of the clip in order to fix the bump, during which time it might or might not go a little wacky as a hand enters and leaves the frame with the introduction of each ingredient, and finally the shot would go wacky again as the pot was removed from the frame because the stabilizer would be trying to keep the pot stable at the expense of the stove around it.

So in order to stabilize something that might get used you ruin every other part of a shot that will more likely be needed. And I haven’t even mentioned the amount of time you’d be wasting stabilizing good portions of the shot.

Or to quote from Apple –

https://support.apple.com/kb/PH12564?locale=en_US

“Note: These operations act on whole clip selections, not on range selections. To get the highest-quality and fastest results, isolate the problem section by cutting the clip with the Blade tool in the Timeline. Then apply the correction to just the video footage that needs correcting.”

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

[Herb Sevush]

[Duke Sweden] ” I can adjust it in post in PPro, but it’s a tedious operation given the footage is compressed. Anybody out there familiar with color correcting h264 footage that might have a tip on an easier way to correct skin tones”

You do realize that all codecs are compressed:

CoDec = COmpressed / DECompressed.

DNX, ProRes – they are all compressed. h264 is Long-Gop compressed, which makes it a little harder on your computer, but color correction works for it the same as it will work for I-Frame compressed footage (Prores, DNX.) Every camera and every shooting situation will handle color differently but the same tools are used for correcting all of them.

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

[Herb Sevush]

[Robin S. Kurz] “Being which product exactly? Certainly not FCP. No idea what the continued “they killed FCP!” &%$ is all about, since they factually did not.”

They didn’t “kill it” but they “end of life’d it” — a difference without a distinction.

Apple executives did not run to everyone’s house and steal their copy of FCP7 in the middle of the night, and the operating system and hardware they produce continues to allow it to run – but yes they “killed it” in the way every reasonable person dealing with software understands the meaning of those words in context. Like a shark, software is either moving or it is dead.

And whether you choose EOL or “killed” there is no other example of a company that was currently producing the biggest selling product in it’s niche, and rapidly increasing it’s share of market at that time, running away from that success by producing a non-compatible successor. Premier totally re-invented itself when it became Premier Pro but that was because they had failed to achieve FCP’s type of success. No pure software company could commit that kind of software seppuku and survive; Apple could because it is a hardware company that makes software as bait. Which is precisely why it is fair and reasonable to worry about their future moves in a way you don’t when you look at Avid or Adobe.

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

[Herb Sevush]

[Bill Davis] “ALL she wanted to do was slap things into multi cams and start cutting away.”

Yes, how terrible to want to start editing right away, oh no, anything but that.
I can definitely see how X became the speed king.

I’m just kidding here, you quite correct that proper up front prep will make everything faster later on.

But that goes for every editing system ever invented, up to and including learning the proper techniques for hanging your film in a bin.

I’m working on an article about video production that highlights the role of the script supervisor – the unheralded hero of post production. Not paying for an experienced script person is the surest way to go over budget in post that I know of.

And since it’s experienced editors, not newbies, that understand the importance of proper organization and preparation, I don’t see how this would be a hinderance to learning to work in X, but the key word in that opening phrase is “editor” – a producer is not an editor, no matter how many shows they’ve helmed, and pushing keys and making selects does not an editor make.

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

[Herb Sevush]

[Tom Sefton] “Besides that, it’s easy to learn!”

Only if your a newbie, according to some. Apparently experienced editor’s brains are too full of other, older stuff to take advantage of it’s ease. Like a file drawer they have only so much room in their noggins and once filled up it takes time to make space for the new. “It’s so easy, it eluded me.”

Or so I’ve heard.

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

[Herb Sevush]

[Dominic Deacon] “I’m not following but I’m interested. Has Apple engineered anything new here? Isn’t this just the same as the Samsung Gear nonsense or am I missing something key that Apples done?”

Your asking the wrong guy. Bill has no idea what other companies are doing – he wouldn’t know an android from a meteoroid. With Bill it’s all Apple all the time, and if they haven’t built it then it might as well not exist.

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

[Herb Sevush]

[Bill Davis] “The iPhone 7 has a lightening to 3.5mm female adapter included for free.”

Oh good, so in order to get the same i/o I need to carry around an adapter. How about if Apple offered the new wireless system but kept the old 3.5 input and had a rubber stopper to fill the hole when not needed. That way everyone gets what they want without a separate adapter – or is that too un-cool for the demographic?

[Bill Davis] ” My iPhone nestled in my shirt pocket survived, but if I’d accidentally put it in the pocket with the headphone jack pointing skyward… – I kinda wonder. Safer is BETTER”

That’s it – let’s worry that the tiny input in your phone in your pocket is going to fill up with water from the rain – I’d be more worried about the volcano coming to life and burning you and your iphone to a crisp, lightening connector and all.

On the other hand, Maui looks nice.

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

[Herb Sevush]

[Bill Davis] “[Herb Sevush] “It’s a lot easier to build your own PC.”

You may want to take the study time to keep your “system integrator” hat well-brushed these days – I sure don’t.”

Bill, you do realize that the context of my statement was that it’s easier to build a PC than a Hackintosh.

I personally have no interest in building either. Like you I think my time is my most precious commodity and, what with the Yanks making a late season run, I have precious little of that to spare. I might be interested in having someone else build me a Hackintosh, but that’s only because Apple doesn’t want to take my money.

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