Jim Giberti
Forum Replies Created
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[Bill Davis] “n my feverish dreams – they do for audio what they did for multi-cam. An accessible, separate workspace that is task specific for audio. And heck, maybe one for Color as well.
If so, it would be very stormy days ahead for the haters.”
I’m well beyond the emotional aspects of this or whether people feel passionately for or against. It’s ayear later. Where past the theoretical and into practical reality – those of us who are producing with FCPX.
Yes, it has holes, and how they’re filled in the coming months is all that matters.
If they’re not filled then it’s another discussion, but PP has holes too. What current system doesn’t.
But yes Bill, if they add an audio component similar to that (and I do think they’re about to) then this new system will take a giant leap forward.
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[Gary Huff] “While technically you can, is it going to be anything that anyone would want to watch?”
Actually yes, if you’re talented and understand story, of course it would be.
It’s not really a relevant question any longer.
And it has nothing to do with whether these are ideal professional tools.
The question itself has been long answered.
Besides it’s kind of an odd question to ask given that the most popular genre of TV, that “everyone” wants to watch, is reality TV – which takes exactly how much skill to shoot and edit creatively?
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He likes your lemonade.
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[Paul Jay] “Learn FCPX and Premiere CS6. They are both awesome and worth learning.
“I like the middle road approach.
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[John Davidson] “Just to clarify what I meant by “they don’t edit how we edit”, I was talking about promo people in particular. We don’t do a ton of multi camera and with promos you’re constantly switching out sound bytes, adding transitions, revising, slipping vo around – it’s a 30 second catastrophe. Because nothing is locked in, the primary track has to be left alone. This eliminates some of the excellent trimming that can be done in primary. If we drop a transition on a clip, it makes a compound clip – then when we decide to extend the shot being transitioned we have to remove the transition, break apart the compound, extent, reapply transition, etc. We’re constantly adjusting our workflow to make these issues less annoying (like adding tranny’s at the end of the edit, etc). “
I know what you’re saying John.
Seriously, just add a simple LOCKED TRACK function for starters.
I, like most spot producers in many instances, start with a 30 second piece of music and start cutting to it.
It’s absurd that my only choice is to settle for compromised editing outside the Primary or keep doing what we do – create a 1 frame place holder at the top of the Primary in order to lock the music to it and have the Primary for cutting.Absolutely mind-numbingly, irresponsible to have to do anything like that.
Just add the ability to create a fixed track as needed (because really, sometimes we just need it…OK) and then everything else falls into place pretty nicely as you grow with the program.
Then address the “almost a great idea” of compound clips by giving them context within the overall edit when we need to edit within them.
I’m tired of tricking X into being a good NLE when it would take no time or effort for Apple to allow it to be.
Oh, and could we make it so simple text doesn’t choke the program?
Quickly addressing little things that are really kind of important would go a long way towards making this a great environment.
And so the love/hate relationship continues.
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[Craig Seeman] “I saw Diana Weynand do an all too brief explanation of her workflow on a doc she’s producing in which she named and organized clips in Finder to take advantage of FCPX import Folders as Keyword Collections. The value of that feature is made evident by showing how she works in Finder before importing in to FCPX.”
I’d like to see that Craig.
That’s how I’ve evolved our workflow as well.
I like doing my rough selects in FInder and folders and creating appropriate collections that FCPX takes of advantage of.It also allows me to transcode only my selects at ingest, so I start with a keyworded, efficient , optimized project.
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Hey Lance,
Two things.
You really would do better asking this on the FCPX Techniques forum (this is a philosophical forum…not that people don’t also work around here.)
Most importantly – you simply need to tell us how people are going to view your work and why you’re distributing it.
DVD is not an option, but there are options. But first you have to be clear about how you expect people to view your work.
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[Craig Seeman] “I think the Apple ecosystem for the “Pro” is going to be very interesting in a couple of years.
“Interesting Craig, I said virtually the same thing in a recent post.
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This is really good Andrew, thanks.
It makes me think more about what I was talking about with my partner this AM. We all know Apple isn’t going to tip it’s hand in it’s overall plan regarding FCPX, professional systems and industry standard power and speed. But what if they really are being really smart and innovative (who, Apple?) and around the corner, say 12-18 months everything came together regarding their next 10 years of pro production tools – hardware and software.
What if takes two years or so (as part of their plan) but between AV Foundation, GCD, TB, the new 64 bit FCPX, Motion (and I’m assuming another pro app shoe to drop in this period), and the new processors that they’ve been waiting on…what if they’ve envisioned a coming together of many things that add up to more than the heaviest iron systems running anything else.
I could easily see us moving to MBPs and iMacs and additional 30 screens whose feature sets provided a uniquely Apple
Now don’t anyone get all “fanboy”, I’ve been an admirer and critic of the Cupertino gang. But I’ve built a really fun and productive company around their innovations for over 20 years and I’m thinking I give them the benefit of the doubt right now.
I think a year from now the evolution of FCPX, Motion, Logic (and maybe a 3D surprise) combined with their new vision of the systems that will run them mobile and in studio, will prove to be the best creative ecosystem in the biz again.
I continue to work daily with both X and Motion and with the refinements and feature improvements I fully expect over the next year, I’m glad we stayed with them.
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Amen to Gary A and Michael G.
Like most creative shops that have been around for a while, I’ve produced in a number of formats from 16mm and 35mm (always rented and always with DPs that understood film cameras) to Sony video cameras that cost more than the Alexa to Canon Xls with P&S mini35 setups that we’ve always shot ourselves.
We’ve always worked with the systems that budgets allowed for and always tried to use the systems that offered the fastest/best production and post production benefits.
We’e always owned a full production system but rented “better” when the project demanded.
Right now I’m in the middle of determining our new system and the big difference is whatever I decide will preclude ever renting anything, because the barrier has been lifted. Whether it’s a RED (which it isn’t going to be simply because I don’t like the workflow vs how we work now), A C300, or even an FS700 the new generation of cameras, at this level, offer virtually all the tools we need to cover web only, regional/national commercial work, or doc and fiction – basically we now have systems that can do everything for the smallest or biggest screens that are great professional investments.
If the C300 had 1080 60fps I’d have had one of the first available. Shame Canon didn’t allow for that because I really like everything else about the camera from image quality to operation to ease of workflow to using all my L glass.
Anyway, to G and M’s point – we just finished shooting a spot yesterday, all car interiors, regional budget, our 5Ds and LED panels were the perfect solution for the constraints and budget. But I paid for it in time on location (even though I’m really fast with the system) and now in post as we grade and finish the campaign and deal with the codec limitations.
Because I don’t produce national work all week, I still won’t invest in an F65 or Alexa right now, but the benefits of renting one when appropriate has nothing to do with psychology. If national work was all we did then I would most definitely find the Epic, F65, or Alexa real bargains.
The new evolutionary development is that whichever system I do go with, it will provide everything we need to produce at every level. RIght now those cameras exist in the $8k to $20k range and absolutely kill the systems we used to rent that cost $80k and shot in SD.
But a pro system isn’t just about being able to craft a test shoot to maximize IQ. It’s about the speed and variety it offers on set and how quickly it is to edit and finish and how it holds up to robust post creative.
I really wish the C300 had 60fps.