Simon Ubsdell
6
COW Coins
Forum Replies Created
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[Evan Lloyd] “Is it possible to create a secondary timeline, lock certain clips in specific locations, and then fill inthe blanks on the primary timeline?”
Actually to answer your question properly, what you suggest makes perfect sense as well – if you have edited your music into the primary storyline. It sounds like a good way of working to have a secondary storyline as a nice tidy container for your sections – and it will stay locked in position to the music unless you choose to slide it around, but it also won’t get rippled by any other editing activity on the timeline.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Evan Lloyd] “Is it possible to create a secondary timeline, lock certain clips in specific locations, and then fill inthe blanks on the primary timeline?”
If you follow my suggestion of editing the music into the primary storyline you can then edit anything you want into wherever you want to put it without worrying about what’s happening elsewhere on the timeline. This seems like a particularly good way of working for your particular project but it’s also definitely the right way to go for editing things like music promos and the like.
But you could if you wanted to follow a more traditional route adopt Brendan’s suggestion and edit a nice long “gap” into your primary storyline and take it from there.
To be honest, there are many options – it’s a question of what works for you.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Evan Lloyd] ”
If I know I want a string of clips to come in at say the 2,3,and 6 minute marks, how can I place them there, lock them in place, and then still use the magnetic timeline to add the other clips? In other words, I know exactly where I want to lock certain shots (transition and b- roll stuff) and I want to fill in the blank areas with fresh material from each session.”Could be a perfect job for Placeholders (look under Generators to find them). You can edit them into your master template sequence (and modify them to something that makes sense to your edit) and then simply update them as necessary using Replace edit mode.
But frankly if you are cutting to music I would strongly recommend that you edit your music track into the primary storyline and then use Connect to edit your sequence. That way, nothing will ever go out of sync for you and it’s easy to move stuff around. (NB. you will need to make secondary storylines for transitions, which is a bit of a pain but not the end of the world.) You could put markers on the music track where you want your main events to happen to help you along.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Brendan Gibbons] “The only way I can think is that you would create a different preset per version”
That was pretty much what I was reduced to thinking – which is why I made my “multi-pack” of different versions. I think from the user point of view it’s probably just as easy to pick the template that you want from the effects browser as to select it from within the effect’s own controls.
But you’re absolutely right that it would be really nice to be able to limit which controls were visible in the exported template depending on a check-box state – especially for creating Simplified and Extended/Advanced user interfaces.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Brendan Gibbons] “So if you were able to rig dropzones so that they only appeared when you selected a preset from a rigged dropdown it would be ideal.”
I’m probably missing a trick but I can’t seem to see a way of rigging it so that you can affect drop zone visibility in the published parameters … did you have an idea for that?
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Brendan Gibbons] “Say if you wanted to have 10 different versions of a boxes effect, it would good if when you selected a 2box example from a dropdown menu it would only show 2 dropzones, because as it stands I believe you have to show all the possible dropzones….leading to a crowded parameter pane in fcp.”
I’m probably being dense and not understanding what you’re suggesting here,though I’ve no doubt it’s a good idea and would love to try it.
I did start off with the idea of having a drop-down system where you could select different layouts/different numbers of boxes but it seemed as though it would lead to massive complications (my first attempt had a 2/3 way option but I left it at that), as against just choosing for example a 3-way or a 6-way.
But if you’ve got a challenge for me, then I’m your man!
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Brendan Gibbons] “The box / split screen king!”
And I don’t think I’ll ever be using them myself – but it’s a fun challenge all the same. I hardly need to tell you of all people how crazily addictive it is making this stuff 😉
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
Yet another great template – was about to do something similar … just not nearly as good!
Thanks a million!
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
But life will be no fun when – if ever – Aindreas “moves on”!
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Walter Soyka] “Simon, do you have any thoughts in particular on areas on DS that are particularly good or particularly bad for finishing and for compositing or graphics-heavy short form work?”
I have to say I haven’t used DS in earnest in the last two years so things may have improved – but nothing in its development since AVID took it over leads me to suspect that would be the case. I have had bad experiences with AMA using Media Composer and don’t expect it to be that great on DS either, but I might be being unfair.
As a finishing tool, I think DS is a serious contender and has been for a long time. The nodal compositing was always very well thought out to my mind and puts it in the big leagues if you know what you’re doing. I don’t think it’s the greatest tool for grading because you’re stuck with the appalling AVID color correction toolset which I can’t believe that anybody takes seriously, though I know many people do.
I don’t know what it’s like now but I found that the more code that AVID carelessly slapped onto it the slower it got overall to the point where it seemed to me not to be as fast as it ought to be in today’s terms especially when working at 2K, but maybe my experience was unfortunate in this regard.
I do think it’s well worth having a good look at – I much preferred it to Smoke personally … My only worry is that AVID have always appeared to be on the point of dropping it as a product and we all know how scary it can be when a supplier does that to you!!!!!!!!
😉
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com