[Tony West]

Thanks Colin

[Tony West]

Thanks Jeff, it actually does help to know if it’s just me or not.

They said they didn’t have any reports from other users with the same problem.

[Tony West]

That’s the first thing I wondered when I saw that 2

Was there someone else besides me? in the Lou

I had to do some stuff during part of it but I think I left it running in the background.
Sorry I can’t say for sure.

Audio on the questions was a little rough early on but that’s always a challenge. Unless there is a person standing there aiming a boom mic at folks which most time it’s not really practical budget wise.

I could see the screens pretty well though.

Will you be doing another one anytime soon?

[Tony West]

[Bill Davis] “Were you one of our 5 NYC viewers?”

No, I live in St. Louis

[Tony West]

[Bill Davis] “They won’t naturally “get” that in your scenario, ALL the original footage remains available at all the stages of the edit. “

Agreed Bill, I would have to come in there and give a straight up demo and make that very clear.

I enjoyed your webcast the other evening btw

[Tony West]

[Leo Hans] “This project was special because there was lots of shots using amateur sport teams, so I had to search all the footage looking for that small parts that may work from long almost useless clips, as opposed to multiple shots of the same action.”

Let me build upon this and give you my dream workflow.

I do lot of work for FOX, ESPN and the rest and this is my opinion of how the workflow could go.

I say “could” because they have invested in AVID and it’s not going to happen anytime soon.
They are missing the X boat IMHO

If you are shooting say, a Football game, nobody knows more about the footage at that point than the shooter. They shot it.

The producer is sitting up in the press box while you are running around on the field.

At the end, the shooter creates their own Event with favorites with their footage.

Then the shooter hands that event to the producer who farther refines the event with their favorites.

Finally the producer gives that Event to the editor. All tagged and ready to go.

A great deal of the work has been done before it reaches the edit bay, making the edit faster because there is less to do.

You would have to pay shooters for that extra work but they hope that shooters delete shots in-camera before they hand off the raw anyway and when they stay to do that they charge.

Less work for the editor.

Less work for the producer. (they don’t want to search through all that raw footage)

More work for the shooter but they would get paid extra to do it. Heck I’d take that extra money for sitting there and tagging : )

Here is why it would work in a practical since.

X is affordable and many shooters already have it on their computers.
It’s also user friendly for shooters that have not done much editing in the past.

It’s fast and simple and I don’t think shooters would mind doing it if the price was right.

This post may not sway many because it is theory. We don’t actually do this. We use AVID and producers log through miles of P2 footage with a million incomplete passes.

All the same, I’d be happy to hear why this wouldn’t work or not be a better use of our time.

PS

This could also work outside of sports : )

[Tony West]

[Nikolas Bäurle] “I believe the problem its about the nature of big houses. There’s not as much room for experimentation, things need to work almost immediately.”

Nikolas, I know this has already been seconded but I just want to third it.

You nailed this.

Many of these places just don’t have time to be messing around with something as different as X and taking chances with it. Also all they have heard is negative things about it. They might not have tried it even if they heard it was great because of the learning curve. (although I think it’s the easiest NLE to learn)

Anyway, moving chunks around is fast, the skimmer may be one of the most underrated parts of the program.

I can simply fly through footage with it. Whenever I have to work without the skimmer I go crazy : )

Just dragging those audio faders

It’s all these little things in combination that makes the entire process faster for me.

My prediction is that big houses will end up having X in there with Avid because just too many young people will already be trained on it.

[Tony West]

[Bill Davis] “The quality is superb and the stuff like magnetism that ticked off so many editors as foreign in the beginning is now proving to be a major efficiency boost once you expect it, since you can assemble blocks that remain connected and move them as units at will.”

Bill, this remains my favorite thing about X

I’m cutting a doc right now with a ton of footage and the ease in which I can pick up a whole cut section, with a person, their sound, their b-roll and it’s sound, their graphics and their music and drag it all down the timeline and watch how the timeline opens up to part like the Red Sea for to drop it in is great.

Moving whole sections to get a feel of how they work together. Love it.

Another thing that I don’t see talked about enough is how Apple has really focused the work flow with the top cameras.

If the OP has not seen the article that James Kaelan posted on Moviemaker about Red workflow it’s a must read.

Maybe it’s because I love to shoot that it stuck out to me.

But from day one of it’s release, they featured the Alexa. I said then, only top end productions use that camera.

They have all the top camera’s in the world and a great DSLR (with the way it syncs) workflow.

We get a ton of interns every year at Fox and the other day I saw one with X on his laptop.

Whatever he is learning on at the University he goes to (I don’t think it’s X) he will know that plus X

[Tony West]

[Craig Seeman] “That the ease of relocating a small sized workstation was more important that rack mounting.”

I agree.

A crazy true story that happened to me.

A friend’s mother passed and he asked me to make a tribute video to her memory the afternoon of the service. I have always been close to the family and was honored to make the video.

I went home and went to town on it. Time got away from me and before I knew it I only had a short time to burn it to a dvd. I realized if I burned it I would be late to the service.
So………I picked up my whole mac pro and 27in tossed it in my car and drove there.

The look on the face of the funnel home employees was priceless as I carried in this large machine.

The family loved the video and it lightened the mood as they watch me set it all up.

I would have loved to have looked a little less crazy than I did that day by caring in that tube : )

Don’t take the post it too seriously folks, just a crazy true story I wanted to share.

[Tony West]

[Gary Huff] “Do you understand the difference between After Effects and a Digital Juice motion graphics template, or are you just trying to be difficult?”

After Effects makes it easier for you to do effects than before after effects came out.

That’s why they put it out. After effects gives you way more control to build from scratch but it still makes building effects EASIER than before.

DJ you could argue makes it even easier.

[Gary Huff] “I guess you easily get confused between conversations with different people? “

It wouldn’t be if you weren’t too lazy to just scroll back up and read what I wrote.

[Gary Huff] “You keep alluding to things that were never said or expressed. “

See the above comment.

[Gary Huff] ” perhaps a link is in order.”

Gary, what’s the matter with you? There is no link because I saw it on TV. That’s the whole point of what I was talking about. TV over the air is a higher standard. Yet it went out anyway.

That wasn’t tolerated when I first broke into NETWORK news. Now it is.

The whole point was that standards have dropped to save money.

Who doesn’t know that who works in the biz?

Come on now