Misha Aranyshev
Forum Replies Created
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For offline though Silverstack 1.6 is discontinued I think you can get it from Pomfort if you ask nicely. Haven’t tested it with Alexa RAW, only with D-21. Can do delog, LUTs, manual color, scale, crop, cache and burn in all sorts of metadata. It preserves TC and Reel and can dig it out of strange places current recorders write it.
Conforming is more problematic. You will need all you media online for any grading or finishing app to connect to your EDL. That means big array. There is still no tool to search a bunch of volumes and pull only the frames which were used in the cut.
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Below is something I wrote long ago about what L&C really should had been:
First of all get rid of that pseudo-overlay that pops up when you capture. It’s a shame. Simply make data entry fields non-editable like the Name field during capture. They still must be “live” though – during batch capture Current, Duration, In, Out et al must reflect the parameters of the clip being captured. During Capture Now In should reflect the starting TC and Duration should be calculated on the fly.
Add the equivalent of CHAR ON switch found on professional VTR’s to the Log And Capture window. Overlay incoming video with current TC, Cueing source material, Capturing… text in BIG BOLD TYPE so it’s clearly visible when you glance at the screen from across the room. That’s where an editor or assistant is often happen to be during long batches. Make “time data” and “time data & status” selectable. Make “On video”, “On black” and “Separate Window” options.
Allow Markers during capture. This must’ve been there from the beginning.
Enable Marker shortcuts during logging. Next Marker, Previous Marker, Edit Marker, Delete Marker must work in Log and Capture just like in the Viewer or Canvas.Enable editing from Log and Capture to the Timeline. F9, F10 should insert, overwrite into the sequence current clip in the L&C window as an offline clip. With modifier (Option?) they should perform edit and start capturing media.
Add Eject command. Both button and ejecting after all clips on a tape are captured.
If we had this kind of L&C and Apple removed it there would be riots. With current L&C most of the FCP users wouldn’t probably notice.
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What are you talking about, people! The main thing about FCPX is the fate of Bruce The Wonder Yak. Is he still there? Anybody knows?
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Large number of sequences in a project will make the project size huge pretty fast. Big projects are slow to open and save and somewhat more prone to corruption.
Sooner or later you will have to put all scenes in one sequence and then recut most of the scenes if not all to match general timing, pacing and duration of the whole piece. Why not to start working on the whole thing? Make rough assembly first following the script but not caring about pace and duration first. Then watch it and analyze the story. Work on the story until it makes perfect sense and only when satisfied polish the cut for pace, timing and duration.
Don’t let sequences and bins multiply uncontrollably. Resist the temptation to keep endless versions of the cuts — at the end of the project you need to deliver only one. Keep one sequence for the cut, one sequence for all the takes for a scene you are currently cutting and one sequence for cutaways and outtakes. Make sure to purge the latter two sequences after you’re done with a scene. Don’t make “great takes”, “good takes”, “so-so takes” sequence or bins. There are plenty of ways to mark and label takes in FCP and use sorting feature in the browser to quickly find what you need. Keep the project simple — it will be easier for FCP but what’s more important it will be easier for you to see the whole picture.
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If you really want to get fast in FCP hire a guy who would slap you every time you touch the mouse.
[Toni Martin Dobrzanski] “13.) When dragging a clip from the browser to the timeline it’s possible to choose to ‘insert’ or ‘overwrite’ by holding the mouse in the upper or lower part of the track. Is it possible to choose ‘insert’ when moving clips around in the timeline from one place to another (in Premiere done by holding CTRL while moving clips)?”
Never drag anything. Copy then paste. On timeline Command-X will cut and leave the gap, Shift-X will cut and close it. Command-V will overwrite, Shift-V will insert.
[Toni Martin Dobrzanski] “14.) In Premiere there is a really neat feature where you can drag a clip from the browser onto an existing clip in the timeline while holding the ALT key. Premiere then substitutes the clip with the new one but keeps all the information from the clip that was already in the timeline (so all motion, effects, in/out is kept). In that way you can quickly substitute the picture material while still keeping all the editing information of a clip. Is something similar possible in FCP? Is this what you called “replace” (F11) Michael?”
Replace will replace both content and attributes. Copy the source clip in the browser, select the target clip on the timeline, Option-V, while in the dialog box check “Content”, uncheck everything else.
It is very crude way of doing it actually. When I want to change one clip for another on the timeline, I usually want the exact frame of source clip to fall on exact time in the cut. That’s what Replace is for. Park on a frame in the master, park on a frame in the source, hit F11. The source will get into the edit with head and tail trimmed. If I need to keep attributes I Command-C the target clip before replace and Option-V right after.
By the way, Replace works without a target clip as long as there are some boundaries — a gap or IN-OUT marks on the time line.
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If two clips are joined with transition and there is a need to change one of them it is a waste of time to drag one clip away and drag another clip in. Replace (F11) is much faster and it does keep the transition.
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[Shane Ross] “Change it on one. Copy and then PASTE ATTRIBUTES to all the others you want to change.”
Command-A to select all. Control-Comma, Control-Stop, Control-Slash — pan left, center, right.
[Shane Ross] “Nope. Browser only.”
Command-Option-1,2,3, … — None, Yellow, Red etc. Works on selected clips or on a clip directly under playhead. To color parts of the same Master Clip different make independent.
[Shane Ross] “Premiere is a different app. It does different things. FCP does not do this.”
Throw a solid color on timeline and draw with Garbage Matte.
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[Jeff Greenberg] “Additionally, I went to MPEG streamclip and chose “AVI” – but the only uncompressed item I saw was FCP’s 4:2:2 uncompressed”
Select BMP in Streamclip. This is the same RGB uncompressed codec as None in QT wth WRAW FourCC.
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[Simon Ubsdell] “I don’t mean the things you like or would like to have, but rather that things that you absolutely must have or else you can’t deliver what your clients require of you.”
My clients require speed. That means:
– 3-point edit;
– match frame master to source, source to master, source or master to bin;
– replace edit;
– extend edit;
– roll, ripple, slip and slide;
– cut and paste on the timeline, both straight and ripple;
– gang source to master;If those are present, accessible from the keyboard and not require calling specific interface modes I can deliver
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Come on. They all have Insert/Overrecord as modes. FCP doesn’t.