[Mark Raudonis]

[tpiper4] “Do you just cut and paste the updated sequences into a new project file?”
Yep. Pretty much that’s what we do.

To review:

Big project with all the media in it. Each editor also has another project, much smaller that only contains “edited sequences”. This project gets passed back and forth via ethernet or USB drive (’cause it’s so small). The name of this project may be “Mark cuts 10-22”, with the name updated dailey. Since you only want the most current project open, you can ignore all previous versions of this “cuts” project leaving them closed execpt for today’s “active” version. As for the cuts, we do it like this:

Let’s say the show is a one hour project that plays in six acts. We would have a timeline (Sequence) for each act “black to black”. For example: “Act1cut1″, Act2cut2” or if you really want to get precise: “Act1cut1mark”, “Act2Cut2Piper”. Typically the “cut #” doesn’t get updated until it’s gone out for a round of notes. So “Act1Cut1Mark” may be the “active” timeline for quite some time. Once editing progresses to a full “assembly”, then one editor takes the “lead” and will “pull in” the various cuts to create a complete show. So, for that process, the lead editor creates a new timeline called “Episode 100 Internal Cut1”. The fact that it’s now an “episode” rather than an act lets you know that you’re looking at an assembly.

Keep in mind, “the last one to save” wins. Meaning, when creating your assembly, you have to make sure that you’re dealing with the most recent version of each individual sequence. While this may sound complex, it really is pretty straightforward. We’ve been using multiple editors with FCP for at least three years now. Couldn’t possibly make our deadlines without this workflow.

Don’t be distracted by Avid editors who will say, “But FCP won’t allow the multiple users access to the same project!”. While technically true, the way that FCP deals with media makes this arguement irrelevent. Jump into the multi-user workgroup… you’ll never go back to the sole, lonely editor again.

Good luck.

Mark

[Mark Raudonis]

The answer is both simple and infinitely complex.
Here’s the siimple answer: Forget about the “project”… focus on the the “timeline”.

More details: You’re heading in the right direction: Duplicate media on both systems. Create a project that is “media only”. This is where material is digitized, organized, and accessed. This project can be duplicated and sent to the other system. When there is new material, digitize it into this “media” project and update the project name: Example; Media 10-22, Media 10-23, etc. By using the date in the project name you’ll easily know if you have the “latest” media.

FCP can open MULTIPLE projects simultaneously. So, when editing, all you have to do is open up your media project, and also create and open up a “cuts only” project containing your sequences. The bulk of the “changes” occur in this “cuts” or “sequences” project. That’s what gets passed back and forth between editors. From here on out, you need to keep an eye on “versions”, but its not that hard. No editor can work on the exact same timeline simultaneously. Break your project into logical parts (Act 1, 2, 3, etc.) and label the versions. This may sound complicated reading this, but in practice it’s not. We regularly have many editors working on multiple episodes or even the same episode passing timelines back and forth via X-SAN. The key is to separate the timelines from the bulk of the rest of the project.

Good luck.

Mark

[Mark Raudonis]

John,

[John Steventon] “As it’s still considered a ‘Pro-sumer’ application”

Don’t think so. Have you been to NAB? Have you seen the resumes and credits of the people/companies using FCP on a daily basis to make a living? There’s nothing “prosumer” about it other than it’s origin. Could it be that your opinion of FCP is colored by the cost of the four avids you still have in your shop?

As for the “Timecode display” like an Avid… have you seen this?

https://www.digital-heaven.co.uk/bigtime/ You can make the timecode as BIG as you want.

Mark

[Mark Raudonis]

Agree with everyone so far. Even if you’re a “self-learner” much can be gained by taking a course. It’s the structure and patience of the teacher that gives you maximum opportunity for the new knowledge to sink in.

When we switched over the entire company from Avid to FCP a few years ago, we hired Diana Weynand, author of “FCP for Avid Editors” to come in and lead the class. She was wonderful and eased the transition for our whole team (almost 100 editors).

It’s an easy transition, but don’t underestimate the time it will take to “unlearn” your ingrained “avid” muscle memory.

Good luck.

Mark

[Mark Raudonis]

Gary,

Yes, we’re only SD at this point. Uncompressed HD is another story. However, DVCPRO HD is approx the same bandwidth as SD uncompressed. So, depending on your format, you can support HD.

As for “ill prepared for the cost”… I never said it was cheap! 🙂 However, compared to a similar Unity installation it’s absolutely LESS EXPENSIVE.

To put it another way… as Paul Simon so aptly sang, “One man’s ceiling is another man’s floor”.

Mark

[Mark Raudonis]

Gary,

I guess it just depends on how large of an installation your talking about. For a small set up (under 10 seats) I would agree with you. But, for anything much larger than that, I don’t see anything on the market that can deliver what X-SAN can. We’re running close to 100 seats and I can’t imagine doing that with a Terrablock or even MetaSan.

mark

[Mark Raudonis]

I’m thrilled that Apple has seen the value in Final Touch. Congrats to Roland for creating an incredible product that is going to integrate quite nicely with the rest of Final Cut Studio.

We’ve outfitted three on-line rooms with FCP/Final Touch, and look forward to a more “seamless” integration with FCP.

It’s going to be a very interesting NAB this year.

Mark

[Mark Raudonis]

[David Shallis] “So we want to set up a shared storage system that is fast enough for our needs, reliable and easy to maintain, but is limited by a (very) tight budget.”

You want Good, Fast AND Cheap! Read back what you’ve written. You set out what you need in terms of performance, reliability, capacity… and then you say you don’t want to pay for it. If you “cheap out” on shared storage, you’ll get what you pay for.

I’m all for shopping around for the best product, but your expectations are out of line with reality. The specifications you’ve outlined are exactly what Apple’s X-SAN offers… except is ain’t cheap!

Mark

[Mark Raudonis]

Person,

Not a sore spot. I actually follow the same paradigmn… off-line picture editors with specialists for color and audio. I just am pointing out that most of the world doesn’t work that way! And… even in this classic workflow, there are ideas and solutions that can only be expressed with a “higher skillset” than just a basic NLE.

My best advice to Simon is that presenting as “mutli-talented” skillset as possible to a prospective employer makes you a much more attractive candidate for any position available.

mark

[Mark Raudonis]

Person,

I think you’re too narrowly defining what an editor does. There are MANY kinds of editors. What you might consider “creative”, in many shops doesn’t go far enough to visualizing the final picture. If you’re defining an editor as the traditional “person” who simply cuts together film in a “cuts only”, off-line fashion… then your stuck in the 80’s. Too many visual storytelling techniques now depend on technological mastery that was unthinkable just a short time ago.

To answer the initial question re “After Effects”, no, it’s not crucial to becoming an editor, or even having a successful career. But, when I’m looking to hire an editor, I certainly take notice if they can bring sophisticated visual skills to the table. In my opinion, a working knowledge of After Effects or Motion or Shake is a feather in your cap worth pursuing.

mark