Herb Sevush
22
COW Coins
20
Premiere Pro Coins
Forum Replies Created
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lovely. Thanks for posting that, Oliver.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Aindreas Gallagher] “That is no chicken salad sandwich my friend.”
https://www.youtube.com/watch?v=6wtfNE4z6a8
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. BieberkopfSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
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[Aindreas Gallagher] “I feel terrible saying it. Is that what this is? That seems such an awful irresponsible thing to have said. Well now I feel bad.”
Priceless. Guilt comes to the forum.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Joe Marler] “Had the technology been available in 1988, the editing phase of The Civil War could likely have happened faster than two years. We know this because recent movies with high shooting ratios such as Gone Girl (200:1 ratio, 500 hrs of base material) were edited in much shorter periods — about 10 months in this case.”
It is fruitless to compare the length of time cutting a scripted 2 hr feature with that of an 11 hr documentary mini-series, and I don’t care what the shooting ratios were.
My guess is that much of the editorial time for the Civil War came in looking for and evaluating archival stock footage, a slow and laborious task that is not helped that much by automation of any kind. I’m guessing that Burns was using some sort database to reference all his material. I don’t know how much faster he would have gone using modern technology and how much of that speed increase would have come from the speed of non-linear editing vs the speed of digital asset management I couldn’t hazard a guess.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bill Davis] “That’s why this whole obsession on how FAST is editing in X compared to editing in Premiere Pro or AVID is so screwy. It seems to be of interest of people who want to compare how fast you can build a timeline.”
That was the point of this thread. Editing begins when the editor starts evaluating assets (which sometimes happens on set before you even physically receive the assets) and ends when you ship your deliverables. Any tool that helps get the best product out in whatever time was allotted is valuable and the entire notion of “speed”, other than as a subjective feeling that encourages the editor, is pretty hazy.
If X helps you organize your assets in a way that is efficient and productive for you then it seems like a good fit.
I like watching my material in a timeline because I get a constant visual reference of length and pacing that is lacking when marking in a bin. My multiple timelines are someone else’s multiple bins or keyword collections. So while it might look like I’m hurrying to work on a timeline, I’m going thru the same review and conceptualization process that you describe in your work. The flow of editing remains the same even if the paths to getting there seem so different.
My analogy is baseball (not cars) – different hitters often have wildly different stances when they stand in the batters box, but as the pitcher release the ball and the hitter starts his swing, all good hitters come to the same starting point before launching forward – different initial approaches leading to the same eventual swing mechanics.
In editing there are a near infinite number of ways to approach cutting a show but in the end you have to evaluate, organize, assemble, review, manipulate and repeat over and over again no matter what your work habits look like. As Goddard said “a story should have a beginning, a middle and an end, but not necessarily in that order.”
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[David Cherniack] “Although I can’t be certain that the credit for Ripple Wall belongs to me, I did suggest the idea to Bill Ferster over the phone one day. He liked it and called it a wall for ripple. It was in the next update.”
I loved the way he used to credit editors for ideas he used in the documentation for each upgrade. Everyone likes to see his name in print. The EMC had a bunch of innovative features I’ve never seen elsewhere.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Michael Gissing] “Ergonomics for me is the key”
The best money I ever spent on my editing system was for my chair.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jeremy Garchow] “I find it much easier in X.”
I found it much easier in the EMC2over 15 years ago. The worlds first digital NLE had a feature called a “ripple wall.” This was a blue line that cut thru the timeline wherever you set it and any ripple operation to the left of the wall had no effect on anything to the right of the wall. If the ripple operations shortened the left side, empty space would appear in front of the ripple wall. A ripple that extended the left side would push the blue line with it. You could only have one wall at a time, but it was just a keyboard shortcut to toggle off and on and put it where the playhead was. It was a lovely feature I’ve never seen since. Back to the future.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Charlie Austin] “Not true, you can adjust the zoom level in the browser to see relative timings if you want.”
What I was talking about was looking at a timeline and seeing how long the entire grouping is ( my first assembly is 1:40:00, my cleaned assembly is :55:00, my selects are :22:30) and how any one clips length differed from the other clips in that group. Can you get that info out of your keyword bin without clicking anything?
[Charlie Austin] “True, but what is unique to X is that when you move a group of clips nothing overwrites anything else.”
True, but only in the case of overwrite edits – with ripple/insert in a traditional timeline nothing overwrites either.
As for overwrite edits — once you move the audio to it’s new home, it doesn’t overwrite anything and now you have clashing audio elements where the new and the old are fighting each other. So at some point you have to make a decision as to what is to stay and what is to go – with Ppro I tend to do it before I move anything, with X you do it after the move.
I do understand the X way is a little bit quicker, but in order to accomplish this you have to live with storylines, secondary storylines, attached clips, 2 different playheads and all the varieties of rules that govern their movements, to say nothing of a, to me, visually incoherent timeline. As is often the case on this forum, beauty is in the eye of the beholder.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bill Davis] “What’s it to you?”
Just went back and re-read your original post and now I have to apologize and say that I read stuff into it that you didn’t actually say. It read into it that you were making claims when you were actually discussing the subjective experience. My bad. I have a lot of long exports today and too much time on my hands.
[Bill Davis] “Oh and before I forget. Season’s greetings of the appropriate type for your personal traditions. Hope the year ends strong and happy for you and yours. Really.”
Same here.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf