Shane Ross
Forum Replies Created
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Working with Proxies is fine, and GOOD. Just do it right! I’ve been stuck in the wrong once…not fun.
Tutorial
https://www.youtube.com/watch?v=mt9SxCOsUSw&feature=youtu.be
Shane
Little Frog Post
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[Bill Davis] “95% are “I had this feature in something else – now please give it to me again, just inside X.”
It’s tiresome. “
Or it’s funtionality that we need…which is why the other NLE’s are better suited for other workflows. If you want people to see FCX as the tool of the future, why wouldn’t you want it to do what people need? See, for you, it does what you need and you can’t seem to fathom WHY people would want all that other stuff. “WHY do they need that? I mean, FCX is perfect already!” Or “why does it need that? That’s antiquated thinking and FCX is so streamline that it doesn’t need to do that…in fact, that doesn’t need to be done at all!” or about about “let someone make a plugin for that if you really need it. Don’t touch FCX…it’s perfect!”
[Bill Davis] “It’s ITERATE backwards (which is what the “suite” folk typically want) vs INNOVATE forward.”
See? “Why on earth would you need that? That’s backwards thinking.” Look beyond your needs, Bill. And stop thinking that what we need is antiquated…outdated…backwards. Not every new thing is good. Just because it’s new, doesn’t make it better.
[Bill Davis] “backtracking to make suite class editors – who are justifiably conditioned to a particular type of workflow – feel more comfortable. “
I was going to respond to this, but I’m done with you, Bill. You may be a nice guy and talented, but BOY do you keep insisting that FCX is God’s gift to post, and anyone who doesn’t think so is sadly lost, anyone that insists on doing things their old ways (that still work) are dinosaurs. You insult a huge group of people every time I check this forum. Just going to have to not read anything you say anymore..
Shane
Little Frog Post
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Not all roads lead to FCX, Bill. FCX isn’t the ULTIMATE NLE that is the future…and the mentality that unless people embrace risk and jump on FCX they will stagnate…that FCX is the only NLE that’s forward thinking….is wrong.
Again…I will state…ONE NLE is not the solution to everything. It won’t be perfect for everyone and every situation. Many areas of post have VERY different needs, needs that FCX can’t solve. Others have needs that Avid never will solve and is the worst choice. There are dozens of different delivery needs and processes in the vast world of video, and one NLE cannot conquer them all. FCX is absolutely wrong for so many situations. And Avid is absolutely wrong for others. PPro, Edius…the same. Avid is progressing and addressing the needs of the people and workflows it serves. Yes, it is held back by a few carmudgeons that hate change, but it also needs to change to meet current cameras and current workflows. And it is. As is Premiere.
It works…it works well…so why jump to FCX when there is no need? It isn’t “we don’t want to embrace the future,” it’s “what tool works best for my given situation.”
Shane
Little Frog Post
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[Oliver Peters] “Have you had any where they automatically transcoded into the library as “optimized” media? If so, did those work any better?”
Yes…a feature that was a disaster transfer wise. The one where 80% wouldn’t transfer…and with multiclips where the other angle is a completely different location/subject. EIGHT cameras or footage types, all optimized. And when it got to me, 80% relinked incorrectly. That one ended up being a full res export/chop job.
It’s all prep beforehand. Tapeless media MUST have metadata added as it comes in. This is something FCP 7 and ONLY FCP 7 (and 6) did. Log and Transfer instantly attached the Tapeless Backup Folder name as the REEL. NOT ONE of any of the current NLE’s do that. Not one…only an 8 year old one. Not even FCX does that, and you’d think they would, being from Apple. But no…very useful feature lost. So when footage is brought in, REEL or TAPE ID or other unique identifier has to be manually added…and often is not. Only higher end productions with Assistant Editors tend to do this. One man bands often don’t think of this. I cut a feature done in PPro where this too was not done, and proxies were made incorrectly, so linking to camera masters was a long, slow, painful process.
So that would be a feature request. Automatic adding of a reel number to the footage upon import.
Shane
Little Frog Post
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[Simon Ubsdell] “Is it not seamless enough as it stands? How would you improve on it?”
It’s not seamless…I can tell you that. It takes a LOT of prep and Metadata (that people who love FCX seem to swoon about) additions to make it smooth. I’ve onlined 10 documentaries cut on FCX since September 2016, and only one of those was nearly seamless. And that was because it was prepped by one of the top FCX AE’s in Los Angeles. And EVEN THEN it wasn’t completely seamless…not one of the stills in the show relinked properly. They never seem to. I always ask for a textless export in order to deal with that fact…I use that and chop it up in order to get stills over.
It’s close, but yeah, it takes a lot of metadata management to do it right. I’ve had it done wrong too, and man, 80% of the film didn’t relink properly. AVCHD formats and ANY camera that will repeat tapeless media naming when you change cards is a BIG issue. Other things to tackle…Secondaries coming over as one clip. Finally able to decompose those with R 12.5. But yeah, unless you add a lot of unique metadata, relinking can be an issue.
But I want what Andrew wants…shared project. And tracks. Without that I won’t even consider it. But my brain doesn’t work the way FCX wants it to…I’m a dinosaur.
Shane
Little Frog Post
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Broadcast TV…documentary and scripted. Still see about 85% Avid. I have seen ONE place still using FCP 7 (editor won’t let go). I work extensively with another company that’s FCX all the way. And then the rest has Premiere creeping in..I’d say about 10-14% of places I know about are going Premiere, with a LOT of others going back to Avid. Where FCP 7 was, Avid is coming back, or a shift is going to Premiere (mostly)…with the exception of a couple places using FCX.
But again, I’m in the lowly broadcast market that is smaller than the rest of places where you see video. MANY MANY web companies are pretty solid Premiere. Buzzfeed, etc. FCX has a small foothold, but isn’t gaining ground like some might think and hope. Not without trying, for sure.
So…with the HUGE rumbles about Whiskey Tango Foxtrot and Focus being cut with FCX…anyone hear about any other majors? Premiere was touted for DEADPOOL and 6 Below…any others more recent? Not hearing a lot of PR buzz like we did before…
Shane
Little Frog Post
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Isn’t Parallels for installing WINDOWS on a partition of the hard drive? Why not just partition your main hard drive, and install the older OS on that? NO need for Parallels.
Shane
Little Frog Post
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[Bryce Douglass] “My issue is I’m unable to find a format/codec that is less file size to make a proxy. I’ve tried using the proxy files built into Premiere like DNXHD etc but they are larger files than AVCHD. Do you know why that is? “
The only DNxHD type that is a proxy format is DNxHD 36. All the rest are high res finishing formats that have higher data rates. There’s a workflow for this…
https://helpx.adobe.com/premiere-pro/using/create-clips-offline-editing.html
Adobe will encode with a different coded from DNxHD…I can’t recall what that is at the moment. But there also might be an updated way of doing this with the latest version…can’t find that at the moment. But internally in Premiere you highlight the footage and have it make proxies. And when you render out anything, any viewing copies, it links to the masters when it does that.
And yes, CIneform also is a full res finishing format.
Shane
Little Frog Post
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How are you getting your image to your Eizo? HDMI out from the computer direct? Or are you using BMD I/O hardware, like an Ultrastudio card? The only way to get an accurate image to that monitor from Resolve is with a blackmagic IO card.
Now, as for Quicktime, it’s not accurate at all when it comes to colors, and blacks will always be washed out. This is an issue when it comes to playback options on computers, there’s no comparing the two. First off, you can use VLC player or QT and they’ll look different. If you compress for Vimeo, and watch it with Safari, and Firefox, and Chrome…it’ll look different on all three.
Just like what I have to deal with when color correcting a show for broadcast…when I look at it on my broadcast monitor it looks great, but when it’s compressed by the network, and then thrown out over the airwaves, it’ll look different on my TV and your TV and my mom’s TV. Look at a wall of TVs at Best Buy…they all play the same thing, but look different. Because they are all set up different, and have different electronics.
The best you can do is make it look good on your external monitor (calibrated to the best of your ability)…after it goes out in the world, there’s not much you can do.
Shane
Little Frog Post
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AVCHD takes a LOT of system resources to play back in real time…to decode on the fly. It might be fine to go native for a short project with limited media, say a 5 minute video. But for longer projects, best to transcode. You can either convert to DNxHD and use that for the whole process (no need to go back to the highly compressed AVCHD). But this is a less compressed format therefore you’ll need larger hard drives to store it.
Or you can use the offline/online workflow…compressing to a low res proxy file for ease of editing, and then relink to the masters when you are ready to do your final color and output
Shane
Little Frog Post
Read my blog, Little Frog in High Def