[Herb Sevush]

[Steve Connor] “Great thread you started here Herb,”

Thank you.

[Steve Connor] “care to start another one about the benefits of the magnetic timeline?”

Well, obviously I can’t. But I think the reason this thread was productive is because it chose a very specific and complex feature that all major NLE’s have, and then tried to compare them in a non-partisan way. Comparing timeline’s is way too large a subject, it would be better to compare how different timeline’s trim function’s work for instance. I will continue this notion on the thread you started.

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

[Herb Sevush]

[Andrew Kimery] “Do you have a link to the demo you are talking about?”

https://www.youtube.com/watch?v=Ie5YDDZpIgs

[Andrew Kimery] “The first time I let PPro sync everything up I was annoyed that it made a bunch of timelines because I was expecting one big timeline that I would the sub divide as needed.”

In Ppro there is a check box in the “create multicam” window that specifies whether or not to make one long multiclip or break it into discrete units.

[Andrew Kimery] “There are times when I’ll have a long interview or shoot get broken into multiple timelines (everyone in the field stopped then started again) but it’s less work to combine those timelines every now and then”

Actually I want to know if all camera’s stopped and then started. This save’s me from starting to cut something that has no continuity. If you’re syncing by timecode having discrete multiclips also allows the multiclip nest to have the same timecode as the angles within the clip, which can be problematic when dealing with long monolithic multiclips. I realize using timecode dates me, but I only use wave form syncing when I have to.

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

Some 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.

[Herb Sevush]

[David Powell] “the inability to to add audio effects inside the nest without making cut noises and inability to stabilize clips on the timeline actually gives it disadvantages”

Do you meant you can’t stabilize individual clips in the final edited timeline, as opposed to stabilizing inside the nested multiclip? That would be problematic, and a place where the ability to “flatten” a clip so you are no longer bound by the nesting procedure would come in handy. In Ppro, for example, in order to send an audio clip to Audition for a little tweaking you first have to flatten it — you can’t send the audio from a multiclip. This is where “flattening” really comes into play for me.

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

[Herb Sevush]

[David Powell] “Sorry if this went off topic Herb.”

But it went beautifully off-topic. An unbiased comparison of very specific features. Perfect.

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

[Herb Sevush]

[Oliver Peters] “An even more brilliant interface lets the user customize workspaces that fit their needs with the tools they pick to use within the application.”

+1

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

[Herb Sevush]

[David Powell] “I would suggest watching a demo of how clips can be synced in the angle editor to any angle of your choosing after the fact, after an edit and the sync will be updated in the nest. Didn’t get to read all the posts in this thread but I think the ease in which you can do this in FCPX is pretty awesome.”

Just watched a demo and that is a nice feature, especially being able to re-sync from within the angle editor using audio waveforms. In Ppro you have 2 options for this sort of start stop work – sync via waveforms internally and then manually consolidate angles, or use Plural Eyes to create a sync timeline and then make that timeline a multicam. Definitely a point in FCPX’s favor, which I gave it when I talked about handling camera angle metadata.

in my case, most of my work is studio multicam where we sync to time code with virtually no start-stops of individual cameras, so this feature is of only minor interest. In my workflow I’m not looking for one long multicam with everything, I want each camera stop, where all 5 cameras start and stop together, to be a separate multiclip. What Ppro can do is take a browser full of multicam clips, lets say 100 clips of 5 camera multicam, ingest them all at one time and spit out 20 finished multicam clips in one belch. How would FCPX handle that scenario?

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

[Herb Sevush]

[Scott Witthaus] “…and you’ll stick with Premiere, I am reckoning? ;-)”

For the moment.

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

[Herb Sevush]

So, to sum up the original question about Multicam Editing posed by this thread –

FCPX has angle metadata, Ppro has the ability to “flatten” (replace multicam angles with original sources clips) and otherwise they are as similar as could be considering the differences in their basic NLE structure, and both are more advanced at this point than Avid and Legacy, although both those systems have their own unique strengths as well.

Thank you.

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

[Herb Sevush]

[Steve Connor] “FCPX Puts them all on one track (most of the time!) which is good”

Is there some sort of “camera angle” metadata that you assign to the various clips that enables this?

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

[Herb Sevush]

[James Ewart] “You are using 4K footage?

What are your deliverables?”

Deliverables are 1080p30 ProRes 422. Anything we shoot in 4K is for resizing purposes – either when someone is doing a single person demo direct to camera and we want the option to create a CU from the master shot or when we are out in the field doing small crew interviews, also to pull CU’s from wide OTS shots.

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