[Herb Sevush]

[Tony West] “He will correct me if I’m wrong Herb, but an example of what Robin is saying would be……..”

I know that Motion rigging works very well in that one direction, but what if you had a shot of a WS of a guy under an umbrella and you wanted to create artificial rain and that on a cut to a CU turns to snow. Motion has particle effects that can handle this very nicely, but you need the exact shots in place, cut points and all, to tweak the effect. How would you do that in X?

In FCP7, I would simply cut the shots, select them, hit “send to motion”, create the effect, then return to FCP7 and “walla” it would be there. Then when I got notes back I could simply click that motion clip and the effect would open up in Motion for me to tweak to my hearts content. Return to FCP7 and the changes are in place. I do that now with Ppro and AE, 15 years ago I used to do that with edit* and Combustion.

That is a “bi-directional” relationship, or “round tripping” in the vernacular. Without it, how would you handle any compositing situation that was more complex than pre-defined CG templates?

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

[Herb Sevush]

[Robin S. Kurz] “Simply ignoring what I previously wrote would already be a brilliant start…”

Truer words were never posted.

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

[Herb Sevush]

[Robin S. Kurz] “You’re clearly not the least bit up to speed on the integration of Motion in FCP. But that’s okay… speaking of ridiculous.”

OK, so show me the error of my ways. From within FCPX can you select a section of your timeline and send those clips to Motion, with their in and outpoints preserved, for further compositing? that is a requirement for a bi-directional work flow, something that has been available in many NLE’s for over 15 years.

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

[Herb Sevush]

[Robin S. Kurz] “Aside from maybe not being able to send a clip directly from the FCP timeline, the integration is seamless.”

That’s like saying apart from being a one way street it’s just like a two way street – you know, it has pavement and cars driving on it. And inserting the word “maybe” in the middle doesn’t make the sentence any less ridiculous.

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

[Herb Sevush]

[Robin S. Kurz] “All of which (plus much much more) I have with Logic, should I (or the guy doing my audio) feel the need. But then I’ve never considered my NLE to be a DAW. There’s an app for that…”

This is always a very subjective issue – what belongs in the NLE vs what should be done in a third party Ap. this goes for color correction, audio mix, and compositing. Further it goes to the nature of the exchange relationship between the NLE and other APs – is XML, AAF or OMF hand-off good enough, do you have to “freeze” the edit before the exchange, how closely do the various aps work with each other.

My own preferences are to do as much as possible in the NLE – I want to see and hear things evolving in the timeline as I work – the quality of the audio effects my visual choices, the visuals effect my audio and content choices – even if some or even much of what I am doing will eventually be replaced.

If I am going to use external apps to do some of the heavy lifting I want the exchange to be as seamless and as bi-directional as possible – which is why I have such a problem with the way Motion now integrates with FCPX, which is a shame because I much preferred it to working with AE.

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

[Herb Sevush]

[Robin S. Kurz] “Only in L.A., without a doubt.”

Only if you think NYC is part of LA.

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

[Herb Sevush]

[Robin S. Kurz] ” although I’m one of those many that never even used the mixer (beyond maybe the master bus or for training purposes) when he had one in FCP 7 … “

Neither did I with FCP7 because it’s mixer lacked subs, sends, fx and all the other qualities of a decent audio mixer.

[Robin S. Kurz] ” … or elsewhere”

Elsewhere however, better options were to be found.

[Robin S. Kurz] “THAT I would definitely want (and use) sooner than later! And if for no other reason than to shut certain people up on the subject.”

A noble motivation to be sure.

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

[Herb Sevush]

[Oliver Peters] “It was a very good discussion if you want some idea of what they were going through. There were a number of pointers as to how best to work in a PPro shared environment and how to optimize large projects.”

There was also a strong indication about how hard Adobe is going after the feature market, how closely they are working with editors in that market to optimize Ppro for that workflow, and how much communication there is between Adobe and it’s more high profile users.

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

[Herb Sevush]

Made me smile at the end of a tough day. Thanks for posting.

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

[Herb Sevush]

[Michael O'Reilly] “double clicking the multicam sequence opens in the timeline, but you have to right click and explicitly tell the multicam source sequence to open in the timeline.”

I call the sequence that you are actually editing in the “editing sequence” – makes it simpler to differentiate. The multicam source sequence is a unique thing – it doesn’t behave like a normal sequence, it doesn’t behave like a normal source clip either.

[Michael O'Reilly] ” the original multi camera source sequences have longer names that were truncated on the creation of the multicam sequence.”

You can rename them if you wish.

[Michael O'Reilly] ” and the numbers at the top of the keyboard are the only numbers that work to choose the current camera – the number pad does not seem to work.”

I use the Keyboard Manager to switch that function to the number pad – much easier to use that way.

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