[Herb Sevush]

[Bob Woodhead] “Could it be that we’re done editing sooner, and thus have more time to post?”

Or that your underemployed and have more time to post?

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

[Herb Sevush]

[James Ewart] “of course for some it virtually is a race I know. news in particular but still … time to think yes please.”

News cutting and the kind of editing that occurs at large meetings where your constantly publishing news clips of the days events- that is a whole other world from mine. I honestly don’t know what the best tools are for that – if I were cutting that stuff I might be one of the X proselytizers.

As for time to think, I’m being fussy here but it’s actually time to NOT think I value most. Time spent cooking dinner, taking out the garbage and cursing out the Knicks (currently the worlds worst pro basketball team) while your unconscious is happily doing it’s business so the next day ideas, totally unbidden, shout out directions to you as your fingers fly about the keyboard.

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

[Herb Sevush]

[Oliver Peters] “Even if a new way might be better or faster, an experienced editor is already fast enough, so the advantages of change aren’t a given.”

Yes. The tool I need most is time away from the edit room. Nothing like a next morning to help you see your project more objectively. I will gladly switch to any NLE that can extend my editing schedule – not by making me edit faster, but by giving me more days in a week. Time away from the project is where the inspiration is found.

(Warning: Dinosaur moment)
Way back in the early 80’s when I was switching from film to tape I used to get into this argument with video trained editors — they were always talking about how fast video editing was, while I was always complaining about how crappy video editing was, and beyond the technical differences I always thought that it was the slowness of film editing that allowed for better editing – not to be too poetical but you need time to let your dreams influence your work. This doesn’t mean I want to work with wonky software or I don’t appreciate the apparent speed gains available in X, but I’m pretty fast with any decent NLE I work with and speeding up the already speedy is not my highest priority. If I could get the gains of X without giving up the visual organization and absolute time base of traditional NLEs I’d be all over it. However, for me the one is not worth the loss of the other. As always, YMMV.

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

[Herb Sevush]

[Robin S. Kurz] “Anyone that hasn’t used it or only used in sparingly will tell you they hate it and it’s useless yadda yadda yadda.”

While I haven’t used it I don’t think it’s useless, many fine editors here seem to swear by it. For me it doesn’t look like the best tool for my workflow but I don’t hate it; then again I guess I just don’t qualify as an “anyone.”

[Robin S. Kurz] ” No one that *I* know that has taken the time to wrap their head around it would ever want it to go away again.”

So I guess you don’t know Oliver Peters or David Lawrence, both contributors here, who use X for part of their work, but still have problems with the “magnetic timeline.” Or maybe your reading of these threads is a little bit selective …

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

[Herb Sevush]

[Andrew Kimery] “. PPro can sync clips in the timeline after the fact like that too. I haven’t done it for a while but I think you just select the clip that’s out of sync, select the 2nd system audio it goes with, right click, and select Sync in Timeline.”

Good to know. Thanks.

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

[Herb Sevush]

[Jesse Austin] ” I have cut the “A” side alone, how do I sync the “B” to the “A?” Thanks in advance for any help.”

Unfortunately for you, creating a multiclip has to come before you edit your material, not after. Your supposed to sync the A+B camera clips as a whole and then start cutting. Depending on how complex your current edit is you might want to create a multiclip and then re-do your current edits one at a time with the A angle of the multiclip, at which point you will have access to both cameras.

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

[Herb Sevush]

[Pierce Wilson] “I’ve solved the issue! Multicam in Premiere apparently only works when the track is selected. So reselecting the tracks with the multicam clips on it turns back on the mutlicam angle viewer.
“

Yes, this is a feature not mentioned heavily enough. I cut multicam constantly and it still momentarily confuses me when I loose the angles, only to notice the track is deselected. Flattening a clip has no effect on anything but that clip, don’t hesitate to use it.

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

[Herb Sevush]

[Jeff Markgraf] “The more important function of the “magnetic” timeline is the way the clips move out of the way and overlap when dragged over each other. To me, that’s the real “paradigm shift” (sorry – I hate that phrase). Not overwriting (ala Avid) and not just going “thunk” and not moving (ala FCP7) is completely new for an NLE.”

Under the heading of “there’s nothing really new under the sun” 15 years ago EMC used tracks but still allowed non-destructive overwriting. It only had one video track and if you over overwrote a clip, the original clip was still there, underneath the new one. If you trimmed the top clip you would reveal the bottom layer, also you could send the top layer to the back. While X accomplishes this in a completely new way, by eliminating tracks, functionally it was the same. It worked this way with both audio and video. I no longer remember if there was a limit to how many layers could co-exist at the same location.

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

[Herb Sevush]

[Scott Witthaus] ” What do you learn without actually doing it?”

I learned that X handles start-and-stop shooting for multicam much better than PPro, and if that was a major part of my workflow, I would have to seriously consider it. I learned that X has no ability to flatten it’s multiclips, and along with that it is very difficult to stabilize or use optical flow on any of the clips in it’s multicam timeline, all of which is quite simple in Ppro, and if that’s a serious part of your workflow, then X might not be for you.

It takes me at least a month of continuous, full time usage to even begin to evaluate an NLE. After the first month I hated Legacy. After the third month I was glad I hadn’t stopped after the first month. Bill Davis constantly bemoans those who “give up” on X too soon, that it can take a long time to “wrap your head around” X’s way of doing things. I don’t have 3 months to go down the wrong path so doing research saves me from investing my time in something that is obviously not the way to go. YMMV.

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

[Herb Sevush]

[Andrew Kimery] “since multicam is common ground that’s found in all the major NLE’s where as the magnetic timeline is not.”

That about covers it.

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