Jim Giberti
Forum Replies Created
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[Shane Ross] “So you are color correcting for air using your computer display? Since X doesn’t output to a broadcast monitor. And it looks exactly the same as when you DO output it to a broadcast monitor? Or are you only judging what you see in the viewer with what you see when you open it up in QT? Because neither is the proper way to judge broadcast colors.
(Yes, I’m being snooty and elitist. One has to be when one does stuff for air)
“Shane you can be as snooty as you like, but it ain’t gonna impress me.
The majority of my work is done for broadcast and has been for 20 years, nationally and regionally.
I’ve signed checks for monthly studio costs that exceed most people’s annual budgets.
I’ve built some of the most high profile film and recording studios in my part of the world.I have broadcast monitors on set, in the field and of course in all my rooms.
There’s no such thing as broadcast monitoring from the FCP X timeline right now though, as I assume you know.
Every spot we send to broadcast, in every market, is sent digitally and compressed for the engineering standards of those networks/groups (Cable Vision can be different from NBC NY can be…)
I don’t use tape anymore, unless de-archiving or doing documentary work.
Similar to my experience as a music producer, you learn over years of producing, editing and mixing for CDs and DVDs, radio and TV and projection, what works in different media and how to adjust and allow for those differences. You don’t just use monitors you understand the difference between how NS10’s sound versus Genelecs with the same material in a different studio. You understand the gamma settings your DP needs for CCing and how to tweak compression for any medium.
That’s what I mean by knowing how things look or sound when they leave my studio.
I don’t know of any producer that thinks differently.With the previous gamma issues with FCP and QT that was simply not like anything else I’ve encountered professionally.
This is now different. The implementation of ColorSync in FCPX works exceptionally well for our professional needs.
I hope this helps clarify my point for you.
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[Oliver Peters] “Different functions. Duplicate Sequence in FCP 7 = Duplicate Project in FCP X. There is no “project” file anymore like you had in FCP 7. This is an old and nonexistent concept”
Hey Oliver, We’re doing a lot of work in X so, of course, I understand the paradigm.
My simple point is that if I can’t Save a project I need to know that the little man that Apple decided would do that for me is actually doing it and not getting drunk at the local bar (I have employees for that).
We did, in fact, lose a lot of work on two occasions when X’s autosave failed and had to do Time Machine recoveries – literally the only option.
That ain’t professional development.
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[Shane Ross] “Well, no matter what you view your footage on in your bay…computer monitor, external broadcast monitor, it will never look like that again. Because it is compressed for when it goes to air, so that will take a gamma hit. And depending on the TV you are using to watch it…it will look different.”
Well of course, but it needs to leave your studio as you produced it, not as the QT changed it.
That is a big difference with X.
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[Oliver Peters] ”
The design isn’t that you stop after 500 undos. It’s SUPPOSED to be the LAST 500 undos. If it works correctly, then the oldest is flushed out. Same as the 99 undos of FCP 7. As far as steps and versions, you need to duplicate your project for alternate or in-progress versions.”But you realize that it doesn’t work as it’s “supposed” to right?
It doesn’t keep any undo reserve.
I didn’t have to duplicate anything in 7 AND I had a Save and Save As function.
Simply, if you taketh that away, you’d better give a professional something as good or better, not the potential for disaster.There’s no way to know when it’s going to shut down, no monitor , no gauge, no flush as there is with Motion.
It’s a bug. -
Exactly why I’m surprised it hasn’t gotten attention.
It was a major problem and they really fixed it.If you output for broadcast or any critical medium, it’s one big reason to edit in X rather than 7.
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[Oliver Peters] ”
I don’t believe they will. Look at the other current Apple software under Lion, such as Pages/Numbers/Keynote/TextEdit. There is no Save/Save As. There’s an initial Save A Version and Duplicate. I believe the FCP X design is very consistent with that”But how can that possibly work?
Any serious project has, literally, countless steps. Are fcpX editors supposed to keep a note pad or calculator running while editing, or just play the lottery that when they accidentally cut that 12 hours of work and realize there’s no way to redo the mistake?
It’s like developing the new generation of fighter jet and replacing the radar and GPS with a big magnetic compass – easy to use but a bit too risky for critical missions.
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Seriously though, I can’t tell you how many frustrating hours I’ve spent , after getting a good good corrected edit, trying to fudge it with filters and settings at compression – just to go through it again and again and still been pissed when I saw it on air.
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No, I get that Oliver, I was kidding. But it’s not funny that Apple removed the ability to save a project and replaced it with a sloppily conceived auto save concept with very serious limits.
Got to be fixed quickly.
That doesn’t work for any level of editor. -
yikes.
A good “top of the list” thing to address if you’ve removed the Command-S option.
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The thing is Oliver, there’s no way there were anything like 500 undos associated with either project that had the issue. I don’t make that many mistakes .