Tangier Clarke
Forum Replies Created
-
That’s not practical for the solution I am looking for in order to remote videography. I have something by Roland already for a switcher where I can use whatever camera I want. Other people have to able to operate the camera since we will send it to them so it has to be simple.
We’ve decided to use OpenReel with a combination of mobile devices and small cameras.
-
These shapes were created inside PPro. The old and new version are both called “Graphic” They’re not items I can “reveal in project” on. I can rename them, but since they’re not items in the project and exist only on the timeline, how would this work?
Thanks.
-
Correct, this is not going to a reference monitor.
-
Thanks for those suggestions Robert. Someone else also warned me about the rabbit hole of color management.
I typically work in FCP X and this all started when I had to use Premiere Pro for a project after having started the project in FCP X. Footage is from a Panasonic S1 and GH5. When it was time to get into some color work I noticed that the footage look different and started questioning how to color this content when they’re not the same between these apps. Which one would be my reference?
-
Brad, to clarify any confusion, I wasn’t working with exported video when I posted this. I was looking at the same footage in FCP X and Premiere Pro (version 14) and noticed that the video content liked very different; same timeline settings and preferences (where I could) respectively. I then tried it in DaVinci Resolve and noticed that it’s display of the same content was more similar to Premiere Pro. The difference was very subtle. The FCP X playback window was clearly brighter and had less shadow. It was a better image, but didn’t have the saturation the others.
I am aware of the Quicktime issue with handling color.
-
Thanks for this Brad. I hadn’t considered this. I’ll investigate more. I wasn’t sure if perhaps there’s a disparity between Apple created apps and other apps in the way they leverage (or don’t leverage) macOS color color management.
I found this article which I seems informative if nothing else on macOS color management:
https://www.philiphodgetts.com/2011/09/fcp-x-color-management-secret/
-
I feel your pain. Working in PPro coming from FCP X is agonizing except for a few features that I really like in PPro. I am on a project now having to use it.
-
Of course I have a long list of features I want, but if I could just get batch syncing based on timecode or waveform like Premiere Pro or DaVinci Resolve with some minor bug fixes, I would be beyond happy.
-
Agreed. I started working on a feature last year while another editor was hired working on it. I had no reason to put time and energy into it, but It was therapy for me. I just wanted to, and I like the story. A couple of months later, I ended up becoming the editor taking over the project…with modest pay.
-
Isaac I have many of the same feelings. I’ve been a staff editor for just about all of my 18 years of a career in production, primarily in post. I have never gone union and have always worked for relatively small companies. I started on AVID, but quickly went to FCP legacy then FCP X, so my entire career has been built on somewhat of an underdog/uphill battle situation having to prove to professors and professionals what is achievable with those tools; Apple Motion included. I actually used to pull off various effects using LiveType lol.
Yet many of my peers have built their careers around gigs or productions; climbing a ladder as AEs hoping to be an editor on a show and dealing with constant instability. I never wanted that as my primary source of income being that I am a family man as well. I didn’t even really know what an AE does until last year (after all of these years) because I’ve never been one really, yet my peers who know me and my work tell me that I am more than capable of being an AE. Now I find that (at least here in LA), you’re sometimes expected to master multiple applications, have more than a decade of experience, potentially a degree in the related field and after all of that you’ll barely get paid well. I had a clear path a long time ago too and I still love what I do and I love doing it on FCP X. I am working on a feature right now as well and some streaming shows, but I can’t make a living off of them. Like you I am re-evaluating this path, how to adapt, be happy, and make a living. Part of that equation has been looking to the education and training space. For far too long, I’ve always wanted to be like the guys I look up to and be in their spaces, especially since I don’t see many who look like me in their positions of being prominent and/or recognizable voices. To name a few (but not exhaustive) these are folks like Larry Jordan, Oliver Peters, Tim Wilson, Sam Mestmen, Mark Spencer, Bill Davis, Steve Martin, Michael Cioni, Bob Zellin. I got a Masters in 2002 (not that it matters) for the sake of teaching one day in this field and am working on my CTE credential to teach at the high school level (as an option), but I love editing and being part of the process; the technology, the creativity, just all of it I get excited about. Though now it’s in everyones’s hands (for better or worse) and markets are saturated. Competing with much younger people who will work to the bone for very little is challenging. Getting people/companies to see your value through experience is challenging. Ageism is challenging.
Thes rate of change, the very thing I always loved because it keeps things fresh is the one thing that’s making it difficult to stay relevant while making a living without killing myself for monetary scraps. I don’t have a solution and there are numerous options depending on one’s situation, age, priorities, etc. The only thing that seems to be certain is having to adapt.
Still figuring it out myself. There’s so many layers to this discussion. Good luck. You’re not alone in how you feel. I am 42 by the way for the record.