[Tony West]

I guess I don’t understand why David.

You would still log the interview as normal.

You would note it.

But In a clip that let’s say is 50 min long a person talks about dogs in one section and cats in another.

I want to go right to the dog section within a long interview. I don’t need to know her exact words, I just want to get into the range of the topic faster.

I just interviewed a woman in different States. I tagged her in the cities first, then her topics.

It seems limitless to how detailed you could get with these tags.

[Tony West]

[Herb Sevush] “What precisely would be your workflow for a 5 camera shoot where some of the sources are not locked by time code? What would the sync button do for you?”

Herb was he talking about how X syncs through sound?

As long as all 5 cams had sound you wouldn’t need TC right? For me that was another selling point. Not having to worry about jamming TC anymore.

You select all 5 clips from the cams and hit sync. Line them up and use the v key to toggle the cams into the main monitor. Then break out the blade tool and start cutting.

Isn’t that how Mark did that drummer boy video. That was smok’in BTW

[Tony West]

[Herb Sevush] “For instance, as per Tony’s comments, there are products made solely for sports”

Are you referring to the EVS?

We use that to but it cost way more than 300 bucks. No way they will spend all that jack.

But why does my method have to be limited to sports?

Take a long form doc that you have 30 folks with at least an hour long interview a piece.

You can’t remember what everybody said. Say you have been on the doc for a year.

Yes you could use your markers and notes but why couldn’t a person break down and tag out that interview like I would tag out a backwards k by Carpenter?

[Tony West]

[Bill Davis] “3. The database inside X absolutely rocks.
This is truly transformative. Some projects don’t need it at all. But for the ones that do – this can make all the difference between frustration and delight “

This is one of the main strengths of X for me. It’s ability to tag sections of long clips with such ease is what I like.

Let’s say you got a 3 hour baseball game. If I ran the zoo I would have our interns go through those games and tag by player, HR, Ks, steals or what ever.

Once you have the players name in it’s down to a one click and drag. Drag click Drag click Drag click.

Use the skimmer (that rocks) to get through the game faster. Step in the box. Step out of the box.
adjust battling gloves. Step back in the box. Foul ball. Step back out of the box. Aghghhhhhh!!!!

Get past all that crap to the play. Drag click Drag click Drag click

The whole game, heck the whole series could be tagged before lunch.

NFL

I’d have someone on all 22. Mo, HH, cart and low EZ just for starters.

It’s not just a three hour game, it’s no fewer than 10 cameras being recorded at the same time.
We keep ALL those angles.

Think about how much footage that is for a whole season.

The play, from the player, from the game from the camera angle that you’re looking for in seconds.
Now THAT’S what I’m talking about.

Some like X for small projects but the ironic thing is, the more footage you have to deal with the more
useful X is.

I don’t need all that tagging for something small.

I need it for the entire season.

[Tony West]

Bill, there is no doubt these people know what they are doing.

You don’t know what they cut it on but it doesn’t matter.

You don’t know what camera they used and it doesn’t matter.

They had a Stedi-cam for some shots. What brand? Doesn’t matter.

Whatever tools they used they have real skills and it was incredible.

I still say you could look at this as a two camps things.

If you work independent you can cut on whatever you want as long as you do good work.
If you work in somebodies house you need to get with their stuff.
I think most people on here do a little of both from time to time.

When I see something like that I wonder? How do you get paid. You put all that work into that with all those people. You don’t get paid. But someone might offer you a job when they see it.

I like working on big events but I also like independence if someday they tap me on the shoulder and say we want to only pay you this.

I like how when they told George Lucus we won’t make your “black film” Red Tails he said scr– you.

I’ll make it myself.

[Tony West]

[Jeremy Garchow] “We all know that FCPX isn’t ready for Turner. “

I don’t know about that Jeremy, kind of depends on which part your talking about. I don’t do their studio stuff but I work their live sports and I can tell you first hand that fcp X was very much a part of the MLB post season broadcast.

All their live sports are freelance guys from around the country (with some staff mixed in). So if you want to bring in X on your laptop and cut the highlights that’s on you, which is what happened.

[Tony West]

Jeremy, what are you thoughts on the audio peaks in fcp x?

I find that when I’m cutting VO’s I can get to the start of takes faster because I don’t have to search as much.

I can see the peak drop off so I know the person isn’t speaking. I can SEE the starts and go right to that point.

Am I in left field on this?

Sorry it’s off topic but I thought about it looking at that timeline.

[Tony West]

That’s a good clip Steve, but I thought he was asking about cutting or trimming a clip in the secondary after it’s place above the storyline.

Like, you change your mind and want to make the clip longer or shorter or even cut something out of the middle of the secondary clip.

My bad if that’s not what he was asking.

[Tony West]

I hear what you are saying Aindreas, that felt strange to me to at first also.

I keep the snapping on when I cut, then I put the playhead where I want to trim the out or in and I just drag the the end of start of the clip to the play head. It snaps right to it with the snapping on.

I don’t have the i and o outside the main track but I don’t have to unlock or lock tracks either.
That might be the trade off. The time it takes you to lock and unlock vs that drag move.

[Tony West]

I do NHL for this network but they used to be the Outdoor Life Network so they have hunting and fishing shows.

I talked to some folks that work on those hunting shows and they use a lot of Gopro cams in treestands and on boats and stuff.

Just last night one of our producer for FOXSPORTS brought in a Gopro and wanted it in the Hockey broadcast for bumps or whatever.

I hadn’t worked with that camera before.

I like how you can drag the raw camera files straight from the camera right into the timeline of fcp x

You needed a few more hoops to get it into 7

It couldn’t have been easier or faster.

The Gopro is moving more and more into major league sports so I’m glad X handles it with such ease.

This is the line that jumped out to me “it makes story telling fun”