Marcus Samuel-gaskin
Forum Replies Created
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Like seriously , Sapphire has to be the most overrated, overpriced , difficult to use set of plugins in history, especially on the Avid platform. The ridiculous amount of protection money productions have to pay Genarts to licence a bunch of glows and and transitions is amazing. I’d choose FX Factory over them any day.
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Diana Weynand who writes the Apple Certified Training books has a LIVE online course. Check out her website, weynand.com
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Awesome. I just watched the JJ Abrams Culture Show Special. You’re really legitimising FCP X in the mainstream Media. Well Done mate!
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[Andy Neil] “But for a Lockit Box to be of use, don’t the cameras have to be within a certain radius of each other? In your earlier post you were talking about cameras breaking away from the main action to follow something else.
I suppose if you have two at one location and 2 out and about, you just need to worry about the cameras near each other maintaining sync in most cases. But I’m curious about the range of the Lockits if you’re shooting on a large set like a mansion where the cameras could be hundreds of feet from each other upstairs or downstairs.
“Not sure about the exact on-site range but it’s been certainly good enough for delivering 3 series of the show.
When the teams go out shopping for supplies, they are relying on the internal clock. I’m not in camera dept, but I assume they sync in the morning before they leave. When we get the rushes back and build the layup it’s solid. No serious issues at all.Unfortunately I can’t test out FCPX at work as they are all on PC Avids.
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[Andy Neil] “I don’t get it. How can you use the Auto Sequence feature without AUX TC? You mentioned that your cameras shoot TOD which is never perfectly synched across multiple cameras. AUX TC helps to ensure that the offset from one camera matches the offset of another when TOD TC is in use.
I guess I feel like I’m missing a step in your workflow somewhere between your sync map and the finished multiclip.”
For the stuff that’s ‘on site’, Lockit Boxes and a Sound Devices rig are used. Between the two they are rock solid TC wise. Only at the beginning of the production did we have TC issues while they were working out the kinks. Since then never more than a frame out here or there which can be easily adjusted for. Shooting XDCAM.
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[Jeremy Garchow] “In the Avid video, it looks like the method used was a long way around to get what FCPX will do with a multi clip in the Angle Editor
In this sense, FCPX would allow this, and you’d simply scrub the multi-clip (or add it to your Project) with the tod tc.
You wouldn’t necessarily need to create a sequence first, nor a bunch of subclips that end up getting deleted anyway.”
Yeah, that method in the video is a different one to the way we work. we don’t create all those sublcips or use aux/tc. Its a red herring as far as I’m concerned.
The way we get the group clips that we then cut over on to ‘lines’ above is to match-frame the vision for the cameras which creates a mark-in with a TC, and do the same for the audio. We then sort the bin view by mark-in TC so the clips we want are at the bottom of the bin. We select them and group them by In-point. This creates our group clip which we cut in to its ‘line’ above. Rinse and repeat several hundred times.
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You cannot do what the OP is asking in FCPX. Like Bill alluded to, the Angle viewer shows a tantalising glimpse of what coulda been if FCPX had tracks, but try as you might you cannot access that sync-map/layup in the timeline. It’s too much to explain, but I too work in Reality TV everyday, on Avid, and for the life of me I have not been able to repeat the kind of workflow that you can do in Avid or even FCP 7 for reality TV. The way I see that X is built precludes it.
The workflow goes something like this. You have bins with say ALL CAM A tapes shot for that day and their clips. ALL CAM B, ALL CAM C etc.
You would then select all clips in that bin and AUTOSEQUENCE the clips. This lays all the clips with their vision and camera-recorded audio from beginning to end in their correct TOD position.
So you will end up with a sequence at the top of the bin called CAMERA A-ALL, CAMERA B-ALL , CAMERA C-ALL, CAMERA D-ALL etc
You would then do the same with your field-recorded audio: CARD1-ALL, CARD2-ALL, CARD3-ALL, CARD4-ALL etc.
Your sound guy will record the same characters on the same audio tracks for the duration of the shoot/seriesYou would then create a new sequence (“project” in FCPX Parlance) starting at the earliest TC occurrence of your auto sequenced video or Audio card and cut in the field audio at that point. Do the same for the camera vision-only.
What you end up with is something like this:
Instead of that green camera audio, it would be say, 8, hour-long chunks of field audio. So that’s a timeline that’s 8 hours long (or more).
CAM E Vision on Track 5
CAM D Vision on Track 4
CAM C Vision on Track 3
CAM B Vision on Track 2
CAM A Vision on Track 1
PETER —- audio track 1
JANE —– audio track 2
CANDI—- audio track 3
DAVID—- audio track 4
OLIVIA—- audio track 5
MARTY—-audio track 6
HOST1—-audio track 7
HOST2—-audio track 8We’re just getting started. You now go through each and every clip on the time line and create a grouped-clip version whereby the vision and its content is” grouped to” its audio content. It is then either overwritten over it’s timeline original or cut in over it on “Lines” above the main vision content. So PETER&JANE would be one “line” CAND&DAVID would be another, OLIVIA&MARTY would be another, and lastly, HOST1&HOST2 would be another.
Some of it is multi-cam like the cluster of clips you see at the beginning of the screen shot above. Some of it is GV’s like the clips you see in succession on V7 then the main chunk might be the couples splitting off and doing their own thing across town somewhere and then converging in a big multi cam session later on with characters crossing over and all sorts going on.
Those ‘Lines’ are then parcelled off and packaged how the producers and editors want them, then it’s job done.
X can kinda/sorta produce a sync-map/layup like the one in the screenshot above, BUT it’s locked into the Angle Viewer and you can’t do anything with it like you need to in the typical Reality TV workflow I just described.
How do you translate that tantalising sync map in the Angle Viewer to the regular FCPX timeline ?
How do you go through and create group-clips with field audio?It is said that the audio components added in 10.0.6 might help with this and FCP X’s batch renaming and multi cam sync might help with this, but i’m thinking you’re gonna need Phil Hodgetts’ Sync-n-Link software somewhere in the chain?
Anyway digest these two videos and tell me if FCP X is a goer or a non starter in the world of Reality TV
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[Oliver Peters] “Agreed. Also for Alexa files, the LogC-to-REC709 processing is a very useful touch.”
Nice!
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What about a coalition of Directors and Editors, “Hollywood” types club together to prevent the tools they rely on from disappearing?
