Matthew Celia
Forum Replies Created
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When you share using compressor you can select the specific region you want via IN and OUT points in the preview window. It’s an alternative to creating compound clips and multiple projects.
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FCP Guru
http://www.fcpguru.com -
It seems that as long as the original metadata matches exactly, this should work. However, if the files were modified in any way (say by opening them in an Adobe product) this fails to work.
I’m glad there is at least a re-import “reconnect” for recovering files from a backup – but I still long for some better way to replace the file automatically when I’m roundtripping in various effects programs. I suspect though that over time, this will stop becoming an issue as I figure out new workflows.
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FCP Guru
http://www.fcpguru.com -
[Rafael Amador] “A director without a concept or script?
What a heck may have been directing?”Concept OF A script. Surprising as this may be for you, what looks good on paper some times doesn’t translate well when shot and sometimes (particularly on documentary stuff) the editor’s job is to help find the story.
Editors are storytellers… remember? If all I had to do was assemble a bunch of shots, I’d train a monkey to do it and go to Europe on vacation.
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FCP Guru
http://www.fcpguru.com -
Haha, did I just make it into your sig?
And BOY do I wish those shows I cut could be edited before they were shot 🙂
Seriously though, FCPX is particularly awesome for the OPPOSITE kind of work. You know, the kind where the director and DP had no concept of a script before shooting and need the editor to come in and tell a story. The skimmer and strip view has saved me hours of sifting through stuff on a recent documentary. It’s wonderful for scanning and picking out small, beautiful moments…
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FCP Guru
http://www.fcpguru.com -
Walter, my comments weren’t directed at you, but were at the several posts after yours that seemed to miss the point about his workflow being good for broadcast work. I know your posts about color, but some people seem to think that without this gear or that feature they can’t deliver broadcast output no matter what and the exciting thing about this article to me was proof that you indeed can.
Agree that accurate color is incredibly important. But also have gotten into a fair number of discussions where I feel people pixel push a little too much and spend so much time and money trying to eek out the most accurate system ever. Well, IMO it’s never worth it. Look at the audio industry. Everyone there was pimping out their systems with 24bit/96k systems when the 99% of people were listening to heavily compressed MP3 files traded on Napster. We all know where that went. Now people are recording amazing sounding albums in their living room off a Macbook Pro and Protools M-Box. This gets philosophical, but I don’t think the video industry is that far behind… I mean look at what’s being produced and sold to studios.
But back to the point, agree that clarifying his process would be a benefit to us all. Small houses like mine send out for all tape stuff and while I always feel like we pay up the nose for it, it’s still cheaper than the investment in the gear itself (which I feel like is on its way out any way).
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FCP Guru
http://www.fcpguru.com -
I think many people talking about “accurate color” and this guys workflow have missed an important point worth repeating: his shows are airing on broadcast and the consensus is that the shows look JUST as good, if not better (probably more the camera work than the NLE). I think THAT is what is great about this article. He’s clearly detailed his workflow for monitoring what he cuts and using FCPX he is able to deliver a show that meets broadcast standards. He also does all his color in FCPX.
I find his workflow and his drive in the spirit of moving forward, rather than clinging to “the way things are done simply because that’s the way we’ve always done them”.
And to clear up confusion and misinformation, he is using 10.0.2 and there is the Blue only feature by changing the viewer mode to “blue channel only” while displaying bars. On a TV, you can select 1080i as the display mode (in Lion) and provided the monitor has basic calibration, you can apparently achieve quality that’s good to monitor for broadcast.
I found the article pretty exciting. Naysayers be damned.
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FCP Guru
http://www.fcpguru.com -
I’ve had decent luck with it. As with anything that’s automatic, I find it is helpful to try and match shots that are fairly similar. Two medium close ups of people in similar environments, or a multi-cam shoot (for example). It really falls apart when you try and match, for another example, a really dark shot with a really light shot.
I prefer to do it manually any way – hoping they add a still store / split screen feature to coloring so we can compare a bit easier.
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FCP Guru
http://www.fcpguru.com -
Awesome! I feel like my iMac has some legs. Not that I’m working with tape any time soon… but still cool.
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FCP Guru
http://www.fcpguru.com -
[Oliver Peters] “I wouldn’t really characterize it as a product for YouTubers. Rather a product to serve journalists and mid-level, self-contained production folks. I think Apple has decided that facilities and film editors are no longer a market they want to cater to. In the end, they created a product that replaced FC Express and that could also do some high-end work.”
At this point, I would agree with that, even though Apple has said otherwise. And although I know FCP Legacy was used in many feature films and post houses, from within the industry most heavy hitters I know use “The Avid”.
In fact, the lack of Motion integration is one of the only big downsides for me. A simple reconnect feature would do to solve most of my issues. At this point, I jump into Premiere for only two reasons 1) RED footage and 2) Integration with After Effects. I’d prefer to use FCPX, but it’s not quite there… yet.
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FCP Guru
http://www.fcpguru.com -
I think FCPX makes archiving projects vastly easier, especially since you can consolidate your media if it’s not already in the event. To archive (back it up) with every thing intact, I use FCPX’s move/copy function to copy the project and all the media. I don’t think you need to have to choose a separate drive – just make sure whatever drive you select is formatted HFS+.
As for incremental backups (safety in the case a drive goes out, for example) I find the application a little more frustrating. The best solution I’ve come up with is to use a program that automatically copies over the Final Cut Events and Final Cut Projects folders to another drive over night. Apple Time Machine will do this too, but I suspect the system take a performance hit while it’s doing it’s thing.
Very important that whatever backup solution you choose while working on a project, it’s automatic. Relying on yourself to copy by hand isn’t much of a backup if you forget to do it.
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FCP Guru
http://www.fcpguru.com