Marcus Hardy
Forum Replies Created
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Thanks Andrew,
Good advice. I’ll keep that in mind. Actually experienced this early on in my career, so I’m quite aware
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I know you weren’t meaning anything by it. No harm no foul.
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What I meant by possibility over profitability isn’t that new media doesn’t earn money, but more that in order to make a profit, you have to innovate, show whats possible. “If we can do this with 3000, imagine what we can do with 3 million!”
Our 3000 dollar film got us noticed by investors and investors are now financially backing us for our next feature film. That’s the 50,000 dollar one.
For creatives who want to make feature films, calling cards are a means to an end. Will it necessarily earn us money, not directly. Its not cheap labour, but more a bunch of creatives coming together to tell a story, pure filmmaking. We didn’t manipulate anyone into working for free, they came because they wanted to be apart of something. So team effort, absolutely.
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I’m not arguing the concepts bigger budget filmmaking. IMO new media is about what’s possible rather than whats profitable.
I’m trying to illustrate that more than ever before, creatives have access to high quality equipment, (cameras, audio, post, etc) that makes it easier for talented (yet financially starved) filmmakers to make their films.
Yes its always been ‘possible’ to make indie films for little to no money, my point is now it is far more affordable, and accessible.
Most independent filmmakers I know, Calgary Alberta has a lot of us, work union jobs to earn a living, and then throw that money into making their films. Not purely for hobbyist means, but as a hope that it will exceed the expectations of a film made for X amount of dollars. And lead to bigger and greater things. I can attribute to this. Our little film is now leading the way for a film with 50,000 + budget. That’s the mindset of us Calgary filmmakers, keep upping the ante.
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I’ve posted about this before somewhere on here, but being an up-in-comer, it really irks me that people deny the possibilities of making feature films for little to no money. Making references to films over a decade old can hardly be considered “New Media” the world has changed so much since then.
While the following may not be “successful” they aren’t “stoner comedies” either. All were made for LESS than 10 thousand.
“For Lovers Only” (Think about 5000) https://www.imdb.com/title/tt1648201/
“Cold Lights” (3000) https://www.youtube.com/watch?v=99ock02fWVY
The second film is one that I wrote and edited and could not be prouder of.
We live in an era where people can own a 4K camera for 4K, all the sound equipment they can rent for cheap or borrow, and as I’m sure was the case with my film and probably the other one, you can get actors to work for free, for the fun of it.
With our film we didn’t make it for the pay cheque, for us it was proving to ourselves and some of our more conservative colleagues, that anything is possible nowadays.
End rant haha
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I cut a micro budgeted 3000 dollar feature film in FCPX, all SFX was done inside FCPX. From personal experience. With the right setup, you can have zero problems cutting a feature film worth many times more than my tiny feature.
For those interested we released it online for free, cause that’s how we roll.
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No problem!!!
Glad you figured it out!
Take care!
Cheers,
Marcus Hardy
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Ah, I think I see the problem.
To access the filtering options for smart collections you have to double click on them.
A pop up HUD menu should appear. From there my instructions should make sense.
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Hi Michael,
To summon compound clips you gotta be a little creative.
In previous versions of FCPX, I had to create a smart collection that searched for files called ‘compound’ If you simply created the compound clips without renaming them this should summon them.
However, a much easier way is to create a smart collection.
In the edit menu for the smart collection, select from the plus drop down menu ‘Clip Type’
Then it should present a string of commands to the degree of ‘Clip is/isn’t and then a list of all the clip types, first being audition, then compound, then multi cam and layered graphic.
Select the ‘compound’ option.
From there, if you are having the same issues as I was, you’ll have to wait, a long while, for them all to generate.
However once you do, you should be able to follow my previous instructions.
Sorry if I wasn’t more clear earlier, I forgot that workarounds I figured out aren’t universally known.
Hope this helps!
Marcus Hardy
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Hi Michael,
Sorry you are having problems. I know how frustrating it can be.
The issue I had with my film was that I had made compound clips of each and every stage of my film, from assembly through to locked. As well as compound clips of compound clips to merge VFX shots down into one.
This is why I was having issues. Because my final locked time line was nothing but compound clips. I couldn’t reconnect the media. Compound Clips are virtual clips, they dont have a reference anywhere.
So in order to fix it, you have to be uber patient.
To fix it, it took me 5+ hours to load FCPX with the problem event loaded.
Once it was loaded, I cautiously and meticulously made a smart collection that summoned every compound clip in the event.
Once this loaded, I hit command A to select all the compound clips.
I then created a new event (you can do this beforehand, its faster) and dropped them onto the new event.
Once they appeared. I quit FCPX.
I then took just the problem event offline using Event Manager X.
I left the project online.
Finally, I moved the media that was associated with the problem event over to the new event. I just did it as references, but you can physically move them if you prefer.
Finally I booted FCPX with the new event and the old project.
This is what I did that fixed the problem.
I cannot explain how it fixed it, and I can’t say it’ll work for your situation. But hopefully its a bit more eligible.
Hope this helps.
Cheers,
Marcus Hardy