Simon Ubsdell
6
COW Coins
Forum Replies Created
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[Michael Gissing] “I really must wrap my head around Fusion and the connect function. As my workflow is to take edits from all NLEs into Resolve to finish this is totally relevant. “
As I don’t need to tell you, Resolve is a really powerful compositing tool in its own right, so it’s often that one tries to build solutions there, if that’s where one feels most comfortable.
But Fusion Connect really does open up a vastly wider world of possibilities, and solutions that are a bit of a fudge in Resolve can often be implemented a lot more precisely and faster in Fusion.
But really it’s the interplay of the two that is so appealing to me for jobs like this – two world-class toolsets that talk to each other seamlessly and efficiently. What’s not to like?
Simon Ubsdell
tokyo productions
hawaiki -
Thanks, Ronny (and others), for your comments.
One of the things I was highlighting was that increasingly a typical workflow extends beyond the NLE – quite a long way beyond the NLE.
I think, for a lot of us, simply being an editor sitting in front of a closed-system NLE is less and less of an option as the audio-visual world we have to service gets more and more complex and diverse.
And that’s why, for many, it’s the overall ecosystem (and its associated interchange issues/solutions) that becomes the most important part of the equation.
But again, different ecosystems will suit different projects at different times.
For me, Resolve/Fusion represents an ecosystem that works really well, if that’s what you need. BM have managed to mesh together two entirely separate products in a way that delivers great flexibility and lots of power. And they’ve done so with a minimum of fuss and in a remarkably short space of time. It also helps that Resolve talks very nicely to just about every other platform going, in a way that few other products can match. It’s greatly to FCP X’s advantage that Resolve can serve as an interchange “translator”, for instance.
But of course, there are other ecosystems that favour different types of projects …
Simon Ubsdell
tokyo productions
hawaiki -
[Bill Davis] “Can you help me out in understanding the reasoning?”
My thought was simply, as I stated right at the outset, that “the perfect workflow” is the perfect workflow for the job that you are doing at any one particular time. Which may not be the perfect workflow at other times.
As such, I thought this fed into many of the themes that have been discussed here over the years.
For once, it was not meant as a polemic of any kind. Nor as any form of brand promotion.
Simon Ubsdell
tokyo productions
hawaiki -
I’ve used it in numerous different ways and on pretty much every subtitle job we ever do.
The simplest method for you purposes it is take an XML out of FCP 7 and turn it into a Text file that you can then edit, and turn back into whatever type of subtitle file you choose.
But that’s just the simplest option – there are countless possibilities, depending on your needs.
I can’t recommend it enough.
Simon Ubsdell
tokyo productions
hawaiki -
Here’s a different version that lets you input four lines of text or simply clear the lines of text you don’t want.
It has a type on effect that runs across each line. If you want it to happen faster, shorten the length of the clip in your timeline.
Simon Ubsdell
tokyo productions
hawaiki -
Here you go. Here’s a Title template that I think does what you want.
Unzip the file and place it in your User/Movies/Motion Templates/Titles folder.
It should show up when you next launch FCP X and it’s called Text Reveal.
Simon Ubsdell
tokyo productions
hawaiki -
Sorry I couldn’t be more help. Hope you find your solution and if/when you do, please share it here.
Simon Ubsdell
tokyo productions
hawaiki -
Check out Title Exchange Pro from Spherico:
https://www.spherico.com/filmtools/
It does an incredible variety of things and should be ideal for your FCP 7 project.
Don’t take it into Premiere as this will make the process a lot more tricky.
Simon Ubsdell
tokyo productions
hawaiki -
Make sure you have downloaded the latest version of Media Encoder.
If that doesn’t work, post your question on the Adobe Premiere forum where hopefully someone knows more about this than I do.
Simon Ubsdell
tokyo productions
hawaiki -
[Tim Wilson] “Business model aside, most of them talked about the look…and this is begging the question, is it just that ALEXA users are more likely to respond to surveys? We also have no access to the information about the 3900 films that didn’t make the cut. Is there something about the “look” of Alexa and what the Sundance staff thinks “looks” like “a Sundance movie” that makes non-Alexa movies less likely to make the cut?”
Large numbers of movies come through our doors every year and those that are shot on the Alexa stand head and shoulder above the rest – there really is no competition.
It takes beautiful, beautiful pictures, whoever is shooting with it.
Simon Ubsdell
tokyo productions
hawaiki