[Richard Herd]

I paid an Intellectual Property attorney a ton of money, once. She wrote a bunch of Memos Of Understanding and License Agreements. She told me “copyright is not a verb. It is something you hold.” For me, that cleared up what a copyright is. The creator of a work always holds the copyright. The “verbiness” is when you register the copyright with the government.

What does that mean?

It means the actors who wrote their own parts hold the copyright.

It means you cannot use someone else’s work without the copyright holder’s permission. The name for the document that gives you permission to use their work is (generally speaking) called a License.

And also of course, I’m not a lawyer.

[Richard Herd]

That rules!

[Chris Kenny] “embed industry-standard CDL data in its XML files”

[Richard Herd]

[Jonathan Gould] “if I get it right?”

So what happened? Did you get it right?

[Richard Herd]

All with OpenCL, does this mean you can daisy chain several of the ioXTs and gain speed rendering compressing and so on?

There’s so many new things I’m not sure I’m keeping up.

[Richard Herd]

Collective bargaining rights have been eroded in the US too.

[Richard Herd]

Why don’t the workers unionize?

[Richard Herd]

[andy lewis] “Are anyone’s fingers flying with joy through the FCPX interface? “

It’s really fast. I like it quite a lot actually. I decided to cut a short film for a first time director, offered him a deal while learning the software. Often, I’d have to stop what I was doing and read the manual. The first session took me about 3 times as long as it should have, but now that that’s over with, it’s actually faster, and I have a bunch of projects for another client in Legacy, and when I cut for him, I think “X is faster and better.”

As long as my client is happy, I’m happy. But yesterday I downloaded the 30 day trial of Avid, on PC.

[Richard Herd]

Thanks for the clarification. I thought maybe it broke or something.

[Herb Sevush] “Now how do you accomplish that with your compound clips?”

I don’t use multicam. Let’s say I was editing a wedding or something, I would sync ’em and then skim the chunks of each clip I was working on. Like if the bride was throwing the bouquet and the scene was covered with 5 cameras and the whole little bit took 3 minutes. I would skim a bit, then cut, and make it primary. Then cut a bit a more and so on.

Nothing like live broadcast, though, where you have to choose on the fly.

[Herb Sevush] “You can edit multi-cam without any special tools — it’s just incredibly time wasteful. This inefficiency obviously gets worse with every additional camera angle in your show.”

Yep. I haven’t edited multicam since 2005, for a play.

[Richard Herd]

[Herb Sevush] “Of course first you would have scaled each clip back and re-positioned them so they are all visible as the same time; it doesn’t work if you only see one angle while your trying to cut. “

What do you mean “it doesn’t work”?

[Richard Herd]

[Herb Sevush] “What precisely would be your workflow for a 5 camera shoot where some of the sources are not locked by time code? What would the sync button do for you?”

Sync the track. I’ve used it a bit, and it seems to work. But a 5 camera shoot of a concert video is worth a good test.

You’d put the media on a drive. Connect to the drive. Create the event. Select all the media from all 5 cameras. Right CLick. Sync option….wait to see what happens.

Ostensibly, a new compound clip is created with all the clips in sync, stacked on top of eachother.