Ri Stewart
Forum Replies Created
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Whatever your teacher is telling you, let me share some real word stuff at the risk of sounding arrogant.
In the production biz, it’s about telling your story, and delivering. Everything is a tool to do that. Never get attached to your workflows. If one is actually doing their job, every project should use a a different workflow to achieve success.
I’ve edited 4 feature films in FCPX now, and collaborated with people in ways previously not possible. People like the work, we’ve got a bunch of awards sitting here. FCP7 is dead, and we’ve all had plenty of time to mourn it’s passing.
I think Avid is user hostile, and in todays world of getting things out slicker and faster, I would work in FCPX over anything else out there. Try it. Don’t be afraid. There’s plenty of conversions of FCP7 to X. Deliveries have not been a problem in todays digital world and that of DVD’s, film tests, and cinema. That includes output to Protools, but why use it? Logic X works beautifully with FCPX and is a faster workflow. Who has time to wait for 2-1/2 hours to bounce out a mix in real time?
I jumped into FCPX a couple years ago as an early adopter doing music videos, shorts, etc. to learn it. When it was robust enough, I imported a full film into it. It held up. My production managers have approved the workflow in multi-million dollar projects. Who cares if Yosemite won’t run 7. Good riddance!
bluedot productions
https://www.bluedotproductions.com -
Thank you Michael! You have an appreciative new follower.
Looking forward to watching your FCPX color correction to see if I am missing any more tricks!
ri
bluedot productions
https://www.bluedotproductions.com -
Thank you for your reply Andreas. I’m looking for authoring houses that use this software now.
Best
ri
bluedot productions
https://www.bluedotproductions.com -
You hit the nail on the head. Old laptop, used to FCP7, “just a rough cut” – you know. Offlines drive me nutz.
I am hoping to put together a FCPX system together for him soon, but just don’t know how much he will be involved. Often he gives me paper cuts.
Thanks!
ri
bluedot productions
https://www.bluedotproductions.com -
Thanks for writing Andy.
Neither Start from Beginning or End is syncing up the compound clip with the media clip when dragging and dropping onto it. The media is the exact length.
I was sure hoping I could just do a drag and drop like normal. What do you think could be the issue?
bluedot productions
https://www.bluedotproductions.com -
Just wanted to throw my two cents in – I am having great luck with thunderbolt Lacie 2big drives.
bluedot productions
https://www.bluedotproductions.com -
I’m going to respond to my own post with a fix that is working well in case someone else is having the same workflow:
Select the offline clip in the timeline.
Right Click > Open in Timeline
Drag the compound clip above the online footage.
Go back to the main timeline.
Explode the clip (Shift Control G)
Your compound clip is now there on your timeline. You can explode it further when it’s time.We’re doing another feature film (this is our second with FCPX) and this offline process tied with the compound clips is going to work great.
Thanks!
ri
bluedot productions
https://www.bluedotproductions.com -
I just wanted to pipe in here that as of 10.0.7, markers are not searchable in the Event Library.
Yes, I was so shocked I dropped my $800 for a support contract with Apple to find out if this could possibly be true.
We make documentaries, and we often have multi-cam, multi-sound shoots that we compile in Pluraleyes, and create compound clips for editing. (Not multicam, as they are not xml’able) We used to call them nested in FCP7.
I was super excited about the meta data capabilities of FCPX, especially compared to the lack of it in Premiere Pro. Premiere feels like I am using a PC from the 80’s.
Keywords become out of control in a hurry on a feature doc with FCPX. Flawed logic for bigger projects.
So we set markers in our compound clip in the Event Library. But the search feature doesn’t go to the marker, but to the clip.
I thought this would be a perfect workflow, as I am using a little program called “Marker” that takes the XML file and gives me a dialogue cue sheet. Thought it would save a few grand in transcription costs, plus our clips are all tagged, ready for quick finding. Last feature we did was transcriptions with Movie Notetaker > PDF >iPad to find timecode of things our editing team wanted to put together. At least we could search instead of looking thru 100 pages of paper!
Anyhow, I called Apple, and it’s true. You can’t search the markers, but they say it’s ridiculous and promised me my very own release. I hope it happens next week.
As a work around, by dragging the compound clip into a new project, it keeps the markers which are searchable. But, no more drag and drop your selected range to your timeline… now you have to cut and paste and move back and forth between projects.
Perhaps my paper way entering timecode is faster?
Bluedot Productions
https://www.bluedotproductions.com -
Call me low budget, but I work on feature films & post on doc’s. I use a MacPro with a Sonnet E4p and (2) SansDigital 8 bay raid cabinets from Other World Computing. I stripe 4 together.
Now I would assume a $1300 cabinet compared to a $300 cabinet should be nicer, and perhaps more reliable… but these RAIDS are always a little touchy to get the speeds anyway. (Use backups!) I get 200/mbs with a (4) 1tb disc RAID 0, done in the Disk Utility of OS X.
I have replaced one in 3 years as a board burned out. But, it’s still cheap.
Bluedot Productions
https://www.bluedotproductions.com -
I just don’t like the quality I get out of compressor watermarks instead of using FCP. Am I missing a workflow?
BlueDot Productions
https://www.bluedotproductions.org