Shane Ross
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[Bill Davis] “he mentioned he felt X was a direct piece of “mining” the massive research archive they set up in it to find the bits and pieces needed to tell the story.”
OK…searching the NLE for media that was researched, acquired and ingested into FCX. The thing that won the Emmy was the initial research…FINDING that footage. Not locating it in the NLE….that’s completely different. That is not what the Emmy committee was referring to. Not arguing that searching for media is fast and amazing in FCX, I hear a lot about it. BUT, it is not what the Emmy was for. What the Emmy was for had NOTHING to do with FCX.
Shane
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Well, not sure what FCX had to do with that Emmy at all, it was used to cut the show, but all the research was done with other tools. So your subject line is a tad misleading.
There was a big team on the research side of this, as they were looking for the very rare and “lost tapes” around the incident. The best finds were the NASA Rehearsal tapes shot on VHS that really were never seen outside NASA…and then behinds the scenes footage of CNN rushing about trying to figure out what was happening.
All those who were involved in the research were: Tobiah Black, Liza Maddrey, David Tillman, Patrick Southern, Tom Jennings and Ellen Farmer. These guys (and other researchers) produce THE LOST TAPES series, and find great, never before seen footage.
I’ve worked with this company for just about 8 years now…and online all of their shows (using Resolve)…including that one. Along with this award they won a Peabody award for MLK: THE ASSASSINATION TAPES (also cut by David Tillman)
Shane
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Where is the footage stored? What hard drive connected how? And to a Shogun, so the codec is ProRes?
Shane
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[Rachel Pearl] ” The files are 1080 h.264 and they want to import it into Avid as 1:1. But.. the files are too big for them. “
1:1 is overkill. Not sure who uses that anymore, the data rate is so high it takes extremely fast hard drives to play back. DNxHD is a good choice, as it is a compressed format, but near lossless. it’s the standard that pretty much everyone in broadcast TV works in and delivers.
[Rachel Pearl] “They want the files to be smaller but keep the quality as high as possible. Is there another compression that might work?”
DNxHD 175…or 145, depending on the frame rate they shot. Or you can go to 175x, that’s a 10-bit format, although the H.264 masters are 8-bit, so staying with 8-bit DNxHD (which 145 and 175 are) is fine. Those are typical formats that we use for mastering.
[Rachel Pearl] “Are there any proxy workflows in Avid to cut it at low resolution and then match it back later?”
Avid INVENTED the offline/online workflow. Simple AMA link to the footage, transcode to DNxHD36 (to a separate drive than the camera originals), or if you need it even lower, 14:1. Edit, lock picture. Then duplicate the sequence and then take the media drive offline…connect the camera raw drive, open the bins with the AMA linked originals and the select the sequence and choose to RELINK to all open bins. There are tutorials that explain this.
Shane
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What happens when you disconnect that cable from the TV, does it work fine? or are you using the TV as your computer diplay? Or tryng to use it as second display and do full screen playback on it?
Shane
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Hmmmm…I think I recall some solution to this. Take your media drive offline, the hard drive with all the media…eject it. NOW try to open that project file. Just to see if it opens.
Shane
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Many many people keep asking “what do they use on Hollywood movies?” “What do they use to cut network TV shows?” Because, for some reason, they think THAT is what they need to use to cut whatever it is they are cutting. They want to use what the “big boys” use. Not sure about the psychology about that. Is it wanting to feel close to them because you use what they use?
Often what they use would be a HORRIBLE thing for you to use when editing your project. But, some people want that provenance. They want that pedigree. “Hey, they used FCX on this feature, and I use FCX, so I’m using the same tool they are! Wow!” Many companies and ad agencies get this, thus why they market with that in mind. They are using that fact to sell their goods. Very typical of all sorts of things, actually. There will be a billboard with Daniel Craig wearing a Tag Hauser watch and people might go: “Hey, Daniel Craig wears that watch, and he’s James Bond…I WANT THAT WATCH!” Or Matthew McConaughey might spout poetry while driving a Lincoln Navigator, and people will want it because he’s using it. Celebrity endorsement, nothing new. Walter Murch was the celebrity for FCP Legacy… Deadpool was the celebrity vehicle for Adobe. And so on.
Apple isn’t catering to that anymore….at least not with FCX. They aren’t catering at all…there are no ads for FCX anywhere. They just make it and leave it up to word of mouth….which seems to be working just fine. Well, that and the FCX IN ACTION page that’s very very hard to find.
Yet, for some reason, many people still need that Hollywood validation…Hollywood endorsement. If its a great idea for this feature, then it must be great for this corporate video, or TV commercial.
Shane
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Yeah, where it’s showing doesn’t really come into play here. You are paid to shoot and edit, so charge what you charge for those services. You can’t really start charging more because now the video will be showing somewhere else.
Shane
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Ah, the new Canon codec, pardon me.
Well, can your machine handle the camera native GOP files? That’s what you need to consider. ProRes is easier to deal with that GOP formats…less (well, no) decoding on the fly to do. If you have a beefy system that can do that, sure, stick with the camera native. But if you need to convert to ProRes, I’m pretty sure you’ll see next to zero (meaning, not visible) quality loss.
Shane
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[Andrew Kimery] “Apple’s In Action page tells a different story. “
Still has Leverage, that went off the air 5 years ago. And the production company now doing other shows…unknown what they use to edit, but if it was FCX, you’d think Apple would try to reach out for that.
And I would THINK that Apple would put PR all over the DIANA: IN HER OWN WORDS doc that was all cut in FCX. Heck, that whole company is all FCX all the time and have multiple shows and series, all for broadcast, all docs, various networks. You’d think that the PR people would be touting them…but no, nothing.
Shane
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