Matt Callac
Forum Replies Created
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[David Roth Weiss] ” Why don’t the two of you just get a room… :)”
Is three a crowd? I wouldn’t mind being in that room too.
-mattyc
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[Tom Brooks] ” Walt and Rich’s first take on it was overly negative.”
Honestly, i hear a lot of what they are saying, but they clearly didn’t spend enough time poking around. They seemed super quick to write it off entirely once they ran into a snare.
-mattyc
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[Brad Jordan] ” Matt, Do you know Chris Theissen with Transworld Skateboarding? He’s a videographer with them. I produced his wedding last July. Great guy. Super talent.”
No, I don’t know any industry folks. Huge fan of the transworld vids though. Chris Ray/John holland seem to be 2 of the only guys that make skate vids that actually understand editing. Other than Ty evans and french fred.
-mattyc
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[David Roth Weiss] “Heck, editors should get paid to polish turds, they shouldn’t have to shell out 300 bucks to Apple for that privilege”
Dang DRW, you must get to edit some pretty awesome stuff all the time. A significant portion of my Editing time is spent “polishing turds.”
-mattyc
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[Brad Jordan] “skateboard videos (which, by the way are a very profitable business).”
now not only are you an editor, but you’ve got street cred in my book. I’m a skater.
-mattyc
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No, that seems to work so long as you created the event on that portable drive and all subsequent projects on that drive.
Where it becomes a slight issue. Is if you’ve created the event/project on one drive, and then move it to another drive to switch machines. On that new machine FCPX has no idea where your events library is. so it can’t load your footage or metadata.
THe workaround is once you have the drive plugged into the other computer…create a new event on that portable drive. Then quit the program and when you restart the program it knows that that drive has event databases on it.
-mattyc
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[Brian Mulligan] “If you are going to innovate then you have to do better than FCPX. To say that FCPX is really innovation is a bit of a stretch.
They improved a lot of timeline issues that hinder editors, that’s good. But really it is still a track or layer based workflow where you butt clips up one after another for linear storytelling and can layer clips vertically for composting. Nothing new here.
Anyone who says any differently, has obviously never used a NLE other than FCP. CMX editing to NLE…. that was innovation.”Lets say for a minute that you’re right about the actual timeline and it’s pretty much no different from anything else. The timeline and GUI are just how you get around in software. Those things simply speed you up or slow you down. Whether or not you can classify changes like that as “revolutionary” or “innovative” is a moot point. Where FCPX has taken giant leaps foreward is that it’s got metadata as it’s foundation. If you’d poked around in the software for long enough you’d realize this.
Even if FCPX dies a horrible death b/c every FCP editor leaves for adobe or avid the the progress they made with the architecture of the app WILL change the industry.
-mattyc
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[Paul Nordin] “I now have to manage access to my FCS install discs with a lot of care because they just became critical to my business.
“The discs don’t mean a damn thing. You can run to any shop in town to borrow their install discs. your serial number is what’s important.
I created disc images of all my install discs for FCS3 to make it easier. If you lose your serial number you’re SOL, but you should back that up too.
-mattyc
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[Matthew Celia] “Thats pretty cool – have you had a chance to see how the auto analysis works? It created a bin of “steady” shots for me that was actually pretty cool for just messing around. Haven’t tried the people stuff yet, but plan to this weekend.
Man, if I could figure this out, It could save me TONS of time…”
I let it auto some stuff, but it wasn’t helpful for the type of media i was using. I’ll have to try it out with something else later.
-mattyc
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[Jonathan White] “Hi,
Another question: I just cut a short actors showreel for a friend and FCP X was wonderful 🙂 I’m not sure how to handle logging documentary interviews though….
Normally I play through my long interviews and make subclips of the bits I think I’ll use…. any idea of the best procedure on X? If I select ranges and use keywords I’ll end up with hundreds of keywords and a keyword collection for each subclip.. it seems a bit strange, is this the way it works?
Also I tend to lose my ins and outs a bit easily if I accidentally click the wrong place, any way to avoid this?
JohnnySeanchas Productions, Galway, Ireland”
Basically take your already existing method of Subclipping and then apply it to keywords. There’s create folder icon on the bottom left corner of the interface. I’m pretty sure you can organize your keywords into folders to tidy things up. Currently not in front of the software so I can’t test it to make sure you can arrange keywords into folder, or if folders are only for “projects”. WHatever your naming convention typically is for your subclipping, you can stick to that. Like if you clip bits and name them based on the person you’ll clip your do your key word selects based on name. Also you can add multiple keywords and that’s what makes it more/most powerful. So you can keyword tags based on mood or tone, or whatever method you would normally base an edit decision off of. The keywords subdivision opportunities are pretty endless.
-mattyc