Richard Herd
Forum Replies Created
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[Craig Seeman] “[Richard Herd] “what the hell was Apple thinking? ”
Attrition. It would be extremely rare for a facility to have the economic conditions to move an entire facility to FCPX. Someone familiar with FCPX and starting a new facility would be a different story.
Most of the examples we’re seeing here of FCPX in professional use, involves and editor with some knowledge and a single seat. Those are beachheads. People with FCPX experience on their own systems will create their own jobs because a facility won’t use it unless there’s already a trusted editor on staff making that decision.”
Extremely rare? I think that’s a generous overstatement !
1. Revolution
2. Abandonment
3. Attrition
4. Beachheads <–a decent business name, IMO. -
[Aindreas Gallagher] “Its dead in the water even with all the changes. thats the point”
That’s not the point. That’s your point (and a few others).
My point is on the tip of my head. Amortization schedules of capital purchases and the Return on Capital Employed will rule the day. Those returns also account for HR outlays (like training). It’s risky from a return on capital point of view to purchase 50 suites of X for places already operating either Avid or Premiere. Really, what the hell was Apple thinking?
So far there’s a couple of answers:
1. Revolution
2. Abandonment -
[Franz Bieberkopf] “However, it sounds like you found that unsatisfactory (or slow). Why?”
For me, I like having the viewer and the canvas. Ganging ain’t so shabby either. I didn’t actually measure whether or not it was slower, but it just felt slower. I surmise if I actually measured the time, it wouldn’t really be slower.
Here’s some additional details and comparison to X:.
I had
- 1 project
- 12 sequences for color timing plus
- 1 sequence for assemble_v1, assemble_v2, etc as necessary plus
- 1+ sequence for rough_v1, rough_v2, rough_v2, etc as necessary
- 1+ sequence for final_v1, final_v2, final_v3 etc as necessary
The same example, in X would have
- 1 event
- 12 Compound Clips for color timing all strung out in a project
plus
- 1+ project for assemble_v1, assemble v2, etc as necessary plus
- 1+ project for rough_v1, rough_v2, etc as necessary plus
- 1+ project for final_v1, final_v2, final_v3 etc as necessary
Also NOTE: I’m not really sure how I’d achieve the color timing workflow in X. For this client, being so interesting, I was loathe to show any footage until it was timed. If anyone has any X workflow suggestions, I’m all ears.
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[Franz Bieberkopf] “Why not just open them as sequences? Why do you need them in the viewer window?”
That’s how I edit. I open media items in the viewer and set ins and outs and then I insert that into the sequence. (That was the whole PIOP debate.)
Sequences open as sequences and I can’t figure a way to set in and outs in a sequence so they can be entered into a second sequence. So for the previously mentioned workflow, I copy and pasted, which was pretty slow. I thought about exporting the sequences into QT and then re-importing, but I did not–again for time. There were about 12 locations.
How would you do something similar?
The reason I did it this way, btw, was so the client never saw the untimed dailies. They wanted a saturated look.
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[Franz Bieberkopf] “This wouldn’t have been any faster in X, PPro, Avid – the issues are creative.”
Of course that’s an empirical issue. You could test that to find out. There are tools built into X that are designed for issues that are creative. The most readily available one is the audition tool set. It may work for you. It may not. But you can find out, if you have time.
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[Franz Bieberkopf] “[Morten Carlsen] “Imagine a project with about a 1000 media files. In a normal NLE that would take about 1000 double clicks alone to view them.”
Morten,
I’m always surprised by these approaches – did you really work this way? Did you never seem to wonder if there was a better way?
Select All and Drag to Sequence – 1 Click, 1 Drag.
“I tried to work this way for a big client. Here was the workflow. maybe you can fix it.
1. Shot.
2. Log and transferred footage into 7.
3. Created individual sequences pertaining to location.
4. Sent sequences to Color for color correction
5. Sent back to 7.
6. Exported timeline with timecode for Creative Director to screen dailies (on vimeo pro).Here’s where I need your help: How do I turn sequences into media items so they open in the viewer window?
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[Steve Connor] “post Morten”
Read this twice as “postmortem.”
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[Bill Davis] “RED workflow”
Not too many consumers are gonna do this:
https://library.creativecow.net/battistella_david/FCPX-RED-Shoot-Edit/1 -
Quick question: Obviously, some of the footage was archived on tape. What do you do to get the footage into X?
Thanks!
Rich -
WOW!