[Mark Smith]

I can see the value of throwing an interview in a time line seeing and hearing it all in context, breaing it down, cutting away the fat, the tangents etc and using that practice as a way to develop a sense of context of the whole interview. That’s not how I do things now, but I might use this some time in the future

[Mark Smith]

I don’t have an NLE dog in this fight. While I don’t use Premiere I don’t have any grudges against it. I’d like see a demo video of what Simon is describing, maybe it will open my eyes to some new possibilities.

Editing is both constructive and reductive, so yeah TGC carves away as he edits, but he also builds as virtually every editor does. It could be that the sculptor metaphor is just ill suited in this case. Stone carvers are pure reductionists, editors are only somewhat reductionist. Editors also have ‘snapshots’ and tons of levels of ‘undo’.

[Mark Smith]

Bill Davis-
What continues to bother me about much of this thread is the vague presumption that we even need to point out the imagined purported deficiencies in ANYBODY else’s workflow. (Move along dude, there are SCULPTORS working here – Bricklayers meet in the basement.)

I think that pretty much nails it. Sculptors are artists and bricklayers are pedestrian. So what if the bricklayer was some one creating a mosaic and not a bricklayer which is a perjorative term in this forum of artists. I can still vividly recall the mosaics left behind by the people who occupied the Matsada , an ancient mountain top city in southern Israel. Those mosaic compositions weren’t waiting to be carved out of the abundandant rock of the mountain, but rather created ‘additively’ from thousands of little pieces that some artist organized and composed into their final form, with tiny ‘bricks’ by a bricklayer.
The additive-reductive argument seems more like a self justification for claiming one way you make ‘art’ and are therefore and artist and the other way you are a chump.
Maybe Simon would like to make a video of what his editing process is like so we can all learn something from him. Hopefully he doesn’t edit as fast as Thomas Carter, I always need to watch his stuff frame by frame as he edits both addtiively and reductively a bit too fast .

[Mark Smith]

From afar, it seems like the PrPro advocates and the FCPX advocates are sort of arguing about the same thing just different ways to acheive that same thing. The Always BE Editing (is this the same as Always Be Closing as exemplified by the dialog in Glengarry Glenross? ) school seems to defy the fact that with complex projects there really does need to be an organizational scheme when you have lots of hours of footage.
It seems to me this discussion could be called “how do you get to know your material?” There is the Simon way – always be editing stringout method and the Robin Kurz- Bill Davis tagging, keywording mode.
I find it interesting that the editor cited in the second article Oliver posted uses DV tape as grounding metaphor for how she “processes” or gets to know her material.

[Mark Smith]

Now that you have the technical gremlins out of your hair, have fun shooting !

[Mark Smith]

I’ve seen this same issue. My wife edits and she is frequently under time pressure and there have been instances where clips were “imported” but not all the behind the scenes business is finished and she closes the project/library/FCPX and then the next time the project is opened there are some clips that are “not quite there”, which of course fouls any attempted exports.

[Mark Smith]

In the context of HD which is the ‘new Dv’, the original mini dv , I ‘m assuming which is Standard def would look like sh….

[Mark Smith]

I would guess that the phone uses shutter speed to auto correct for exposure and probably flicker too. This is just a guess. If you look in your FCPX browser metadata at an iPhone clip you should see shutter speed in the inspector, and that might tell you something. If you were using filmic pro and had control over all the exposure and shutter speed parameters and set you phone to the same shutter specs as your C100 you might see flicker

[Mark Smith]

Welcome to the confusing world of NTSC video “standards” otherwise known as 29.97i, 30P and 23.98.

Look here for some history about NTSC and frame rates.https://en.m.wikipedia.org/wiki/NTSC

Keep in mind that the same frame rate principles apply, but the number of scan lines in HD is of course 1080 not 525…

Practically what this means for your edit is that you have some mixed frame rates in your project which FCPX will handle . The best hing for you to do from here on out is to decide the frame rate for your project and stick with it. If you get an app such as Filmic Pro on your phone, you can then specify a frame rate like 23.98 or 29.97 that is in sync with your project structure and no have your iphone doing its own thing frame rate wise.

Having some historical perspective on the technical issues of video is of some interest such as how the implementation of the color standard which shifted the frame rate from a nominal 30 fps to 29.97 fps wayyyy back when still carries over to frame rates of the present day and we in NTSC land still do not have a whole integer frame rate standard liek PAL does with 25fps.

Whatever frame rate you are shooting make certain your shutter speed is 1/some integer multiple of the power line frequency- 1/50, 1/100 etc or 1/60, 1/120 . In the US 1/48 also works but I’m not going to explaing that before a second cup of tea and breakfast.

As a matter of personal taste I would opt not to shoot interlaced video, (the i in 29.97i,) because of the artifacts it produces can look like shit. Good luck with your project. If you are a tea drinker, I highly recommend going to the public market in Kampala and scooping up a pound or two of tea to bring back with you . The Tea there is awesome, You can also buy some fantastic coffee there as well so take your pick.

[Mark Smith]

A bit of a follow up here-

I tried a couple of experiments to produce/reduce flicker by throwing off shutter speed from power line frequency with my C300 and failed miserably. It could be that there is some internal trickery going on within the 300 that the 100 does not have so some of my into the weeds details may or may not be accurate. I don’t have a 100 to test with.

The safe route for you is to set your shutter speed to 1/ the power line frequency, be that 50hz or 60hz and go with that. Refer to the wikipedia link about power line frequencies in countries you may visit.

I hope this helps.