Thomas Carter
Forum Replies Created
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[Simon Ubsdell] “Was there a reason you decided not to do this with roles/subroles for night and day?”
I did consider this. But there are a few reasons I decided not to.
Firstly, I was using roles to show if my footage was ‘film’ or ‘playback’ so I would have lost this functionality. Secondly I wanted my audio to be Effects, Music and Dialogue for when I sent to the sound mix, again, I would have lost this too. Last but not least, I remapped the ‘disable/enable’ to the R key, so the clients could all play live in the edit. Clicking a role on and off wouldn’t have been the same.
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[James Ewart] “Just thinking whether he might have made use of Auditions and replaced all the shots in the Timeline by changing the selection?
Maybe not as fast for replacing edited sequences I suppose but perhaps simpler?
Or am I missing something?”
Hi James,
I think you are missing something. I Can’t see how auditions would have helped here. The point of the Compound Clip workflow is that you change the low res to high res at the browser level, and this change ripples through all instances in all sequences, and in the browser.
Auditions are good for switching between different takes/options in the timeline. you have all the high res in, there’s no need to ever switch back.
[James Ewart] “Why did they have to use Compressor to create the Proxy files rather than letting FCPX do the work?”
When Final Cut makes it’s in-app proxies, they’re half the frame size of the originals. So if you’re working with HD they become 960×540. With already poor looking playback footage, this was a little too small, it just lost too much res.
I’ve used it with good quality HD footage before and it looked good, and with 4k it’s great!
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[James Ewart] “Just wondering whether I might elect to use Auditions for replacing lo rez with high rez shots rather than Compound Clips.”
Hi James,
Can’t see how auditions would have helped here. The point of the Compound Clip workflow is that you change the low res to high res at the browser level, and this change ripples through all instances in all sequences, and in the browser.
Auditions are good for switching between different takes/options in the timeline. you have all the high res in, there’s no need to ever switch back.
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Ha! Sorry. Shots. Moving shots.
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‘Seeing’ the audio is almost the least important of the point here. Splitting them out was a bonus. But I’d love roles based organisation (not even colours) like I described in the article. That could be amazing.
I have no idea how I would have cut the 2 narratives simultaneously without clip connections. Moving shits about would have been too slow and un organised.
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Digital would have been quicker! But the Director and DOP shoot all their stuff on film and didn’t want to compromise for schedule reasons.
So why do they shoot on film? Because they still feel it looks better. And while I would always stump for digital work flows, I’d agree.
The director and do did this music video together just before Honda, it was film too and looks amazing!
https://vimeo.com/102826203 -
[David Cherniack] “Maybe I’m missing something crucial, but the idea that this timeline is an advance over fixed tracks for audio seems incomprehensible”
The usefulness of ‘trackless editing’ reaches far beyond the visual metaphor. But quickly to address the visuals, I did this to divide the day and the night of the interactive story. With one quick lasso I could enable, or disable either side of the edit, while I worked on the other.
But the real advantage is that all the SFX (and the daytime shots) are ‘connected’ to the exact spot they are supposed to be. To swap 2 shots around (or groups of shots) was as quick as dragging them from here to there. In one move, the night shot, corresponding day shot and all the sfx associated with both these clips all went with it.
No need to check and select all the clips I needed. No juggling to free up space on the audio tracks. It’s just done.
While you could achieve the end result with a track based NLE, FCPX allows me to do all the boring “admin’ stuff more quickly and easily, so I can get on with actual editing. I’m able to see the results quicker and therefor move forward faster too.
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[Andy Neil] “couldn’t you have just recorded the playback as ProRes Proxy and save the step of transcoding in Compressor?”
That would have been nice but the recorders they were using were only able to do HQ. They had some old kit out there!
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I’m here I’d anyone wants to ask or snipe away!