Misha Aranyshev
Forum Replies Created
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[Bill Davis] “But when you have the ability to apply a tag like “Favorite” or Rejected” – or better yet, “Part of Series A” or “old product label” or “”needs color grade” at the clip level, that’s every bit as valuable as “metadata” as the reel number or ISO setting. “
I have the ability to tag my footage in FCP 7. It’s has Comments, Labels and Markers etc. But that’s not the point. The point is unless tags I apply in the app are available outside of the app I use for applying them they are not really metadata, just “metadata”.
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[Bill Davis] “The vast majority of manipulations you do with your metadata in the Event Browser become available to ALL projects across all drives and all edits – while in Legacy, anything you do in metadata lives in a single project – walled off from everything else. “
There is a bit too much word acrobatics in it for my taste. When I get a picture or sound take from the set the image and audio I see and hear is data. The timecode, reel, scene, take, white balance, ISO, F-stop and lens stored in the file is metadata. When software allows me to see and manipulate this metadata but doesn’t allow to pass the changes to other software the changes it made is not metadata anymore.
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I do a lot of eyematching because the recent trend in my part of the world is to cut videoassist footage and then give it to someone to reassemble. I don’t actually look at the Viewer and the Canvas side by side most of the time looking at the broadcast monitor instead toggling between source and target with Q. That doesn’t mean that I don’t need the Viewer at all. I don’t look at the FCP interface much then editing either. But when I need it it is there and gives me tons of visual feedback about the overall state of my project. My Viewer and Canvas are at the tiniest possible window size but my Browser and Timeline are huge.
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1. FCPX did not invent metadata
2. FCP handled real production metadata as well or better than FCPX -
[Andreas Kiel] ” FCP has a bad interface to access the underlying databases especially using the so called “metadata” (hype word at this time). “
How good is FCPX interface for accessing the actually useful metadata, for instance TC, reel, Scene and Take embedded in BWF files from modern production sound recorders? How bad is FCP7?
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In other words if Apple didn’t try to pass FCPX for something it is not would it generate as much forum traffic? Discussing FCPX itself, probably. On the other hand issues like “Where the hell is FCP8?” and “Do I go Avid or Adobe?” would surely make up for it.
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[Herb Sevush] “The only film metaphor commonly in use with NLE’s is that of the “bin.” “
True. Uncommonly though, meaning my own posts and conversations with clients and colleagues, I often use constructions like “digital negative” and “digital workprint” and so far I find it making a lot of sense.
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Avid wasn’t dominant in Russia in the nineties, mostly because of being Mac. Linear suits though expensive fulfilled the demand well. Big film studios like Mosfilm and Gorky went Lightworks. Fast, DPS and d/Vision were around too. Adobe Premiere, cursed by everybody was still widely used because it came bundled with Targa and other I/O hardware. When FCP came out it captured extremes of the market — people who wanted to lay out masters to Digibeta and HDCAM tapes at the high end and people who wanted to cut on a laptop at the low end. When enough editors got familiar with FCP it became omnipresent.
Reaction to FCP is mixed and very similar to what you can see here on the COW. Those who besides FCP cut in Premier, MC or Vegas point that most innovative features of FCPX is something they had in their NLE’s for a considerable while. Those who are strict FCP like me are split along one-man-band/conveyor-belt-hand line. It is safe bet that for facilities here Apple is dead. How many facilities are left around in a couple of years is another story.
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You mean in FCP7? Select the FX you want to copy in the Viewer>Effects tab of one clip and paste in the Viewer>Effects tab of another clip.
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Timecode on the video out is ahead of timecode in recorded file and the offset is not constant.
Anyway, offline/online workflow survived transition from dilm to videotape, from linear to non–linear, from tape to tapeless, from film to “digital negative”. It simply makes more sense in more situations.