Shane Ross
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OK…let me ask some very basic questions about this documentary…as a documentary filmmaker.
What purpose does this documentary serve?
What is this documentary trying to say?
Who is the intended audience?Basically…what is the point of making this documentary? To me, it seems like either “damage control,” trying to say “hey, the launch was bad, but this really is great software! It is…really…” or it is a marketing tool. “This software opens up editing to a whole new crop of people. In today’s world everyone needs to be able to edit video…tell stories with video, and this software enables you to do that.”
This seems like a marketing tool aimed at trying to convince editors who use other tools to choose FCX. Try to convince us that Apple made a revolutionary tool that is freeing…that yeah, it was bad at first, but really…it’s good stuff!
What is the message of this doc? Who does it serve?
Again, to me it seems like a marketing tool, one that costs $9.99 to view it. But that’s what I get from the trailer, and really, that’s the tool that needs to convince me to watch. Thus far, I’m not convinced. And I’ve gotten past the pain of the transition. I recognize it as a viable tool in the professional world. But it still seems like it’s message is, “HEY, FCX IS A VIABLE TOOL FOR THE PROFESSIONAL WORLD…really! It’s revolutionary….you just haven’t seen that yet.”
Shane
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They don’t need to market to FCX users. It’s pretty much a given that if you use FCX, you need to use a Mac. BUT, After Effects, Avid, Premiere Pro…others…are cross platform, so they need to try to win them away from PCs.
Shane
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Ah…understandable. Well, hmmm…how to make this footage that’s not easy to edit, easy to edit, yet still decently archivable. That’s the trick..
Shane
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[Carlen Cyphers] “If every Premiere Project I have is 600GB, there is no way I can store that much data long term.”
A 1TB USB3 hard drive costs $60. So you can have your main MEDIA drive that you put the media on while working…a nice fast one, but then when you need to “archive,” get the $60 drive….bill it to the client as “storage.” Done. Storage is cheap.
Shane
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AH, yes…FIREWIRE capture still exists in FCP. SO…DV and HDV are the only tape formats Apple cares to support. That box is nice in that it enables VHS to be captured as DV….although that isn’t doing VHS any favors. In my world (HD and up) I need VHS better that HDV, so I need to upconvert with the AJA hardware, or Terranex.
Shane
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My Stock Answers are still relevant! Good thing too, I knew I had one, but forgot what the solutions might be…
Cheers!
Shane
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#15 White or Black Canvas or Viewer
Shane’s Stock Answer #15: White or Black Canvas or Viewer
Make sure the canvas or viewer are selected then go to VIEW>CHANNELS and set it to RGB. It might be set to ALPHA.
OR…
Click on the drop down menu above the Viewer or Canvas and make sure that you are on IMAGE or IMAGE + WIREFRAME.
Shane
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Sorry, that’s one area that I’m not aware of the costs. I work on recreation docs, and archival docs, and feature docs….but nothing in the arena of Drugs, INC or DIRTY MONEY…
Shane
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Well, Apple (FCX) doesn’t believe in video signal capture anymore…in their minds, only digital files that you record onto drives or cards exist anymore (yes, I’m being completely, 100% snarky)…so you can’t capture a video signal in FCX. You can try Premiere….or, if not, BlackMagic Design has it’s own capture software that you can use.
Shane
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[Scott Witthaus] “How simple does David make is timelines for import into Resolve? “
Well, he and his assistant Jay Frosting do the prep, mainly Jay…and Jay is the best FCX AE in the business…at least I think so. He and David will collapse the cut to only the footage that is actually in the show..like ALL projects should do. Collapse all layering. Also…when they can, they undo compound clips. Some get through, but Resolve does recognize those, and I can uncollapse them on my end. But, best not to have them. Like nesting, undo that before sending to online. So it’s a collapsed, simple timeline.
And they do all the conforming on their end, meaning the bringing in of high res stock footage to replace the temp in the cut. They have a Terranex on their end to do the upconverts and then cut in the masters. I used to do this, but for budgeting reasons, they do it on their end (I’m more expensive than an assistant editor). But that’s GOOD…because now they have things full resolution on their end, and that helps in many ways.
1) I have them export a textless full res QT file, in case any issue arise, like plugins or transition effects that won’t transfer, or clips that go offline and won’t relink, or corrupt media, or any number of reasons.
2) The full res footage comes over, and I don’t need to eye match cut in on my end. It’s all there.[Scott Witthaus] ” I’m assuming these are “clean” versions with no titles?”
Nope, they send it with text. And that text does transfer…the positioning gets a little messed up, but I either fix that on my end to match their low res QT Reference they make…or what they do lately, is do all of the text as a GFX …ProRes HQ with alpha, and send those. The only text I tend to do now are the credits. BUT, I could do them, In DIANA, I did all the subtitles on my end, the cards with story points were all done in GFX. But I do get a Full res QT sent textless, along with the H.264 chase QT.
[Scott Witthaus] “What about Transfom moves whenever manual or “Ken Burns”?”
Stills…tricky. Because they rarely link, if ever. Due to no timecode and no reel numbers, there’s really no metadata to grab onto. There’s the pic name, but apparently thats not enough for Resolve in this case. Works sporatically with Premiere, but I have yet to get it with Resolve. When it does, the GROW SHRINK parameters don’t come over…especially since David uses a plugin for this. So, I have them export a QT file with ONLY stills on it, no transitions or GFX elements, and in 4K, because our final deliverable is 4K, and it’d be good to have the stills in the highest res possible. Where the footage, the best you can get hardware scaling is 1080…so resolve does the last bit of scaling internally. But with stills, and with titles and graphics (like maps), we aim for UHD masters so they are the best quality when we make the UHD masters of the show. I take that QT and chop out the stills and drop them into the cut. Then the transition effects which is typically footage that’s layered with a BLEND mode (those transfer, BTW).
[Scott Witthaus] ” A couple times I have needed to put a photo over a generated clip (black). Will Resolve read that?”
The BLACK will come over as a blank CUSTOM clip. I know that is BLACK and just remove it. BUT, as the stills are exported as a file, that comes over all as a baked in effect.
Shane
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