[Tony West]

[Steve Connor] “Just for fun we could resurrect that argument :)”

hahaha only it’s not an argument. it’s fact.

I saw a woman’s review early on that said the clips snap back and there is nothing you can do about that.

You could do something about it, she just didn’t know how. She put out her video before she learned the program.

[Tony West]

[Craig Alan] “Imagine if they had released FCP X by saying up front that it was a work in progress”

I think it might have helped some people but it wouldn’t have helped me, because I already figured it was a work in progress. Almost all software is.

I still say to this day that one of the main problems X had was “misinformation” by people online that didn’t know what they were talking about. Some people did, but many didn’t, and it was hard to tell the 2 apart at first.

People putting out a bunch of information that was flat-out not true. Like, you couldn’t turn the magnetic timeline off.

Even the famous Conan joke clip was misleading. Having the audio out of sync, which most people will agree is very difficult to do in X. People saw that clip around the country and it still gets posted to this day.

I know it’s meant as a joke but most jokes are based on truth, and this was a stretch, but if you did’t know better you would think that X throws stuff out of sync really easy, which in fact, the opposite is true.

I get it though, the things that people were most angry about would have been hard to make fun of.
Like, I can’t import my 7 timeline. Not really funny. The whole sketch was already too insider baseball for the audience anyway, without getting farther in the weeds.

One day I decided to try X so I could decide for myself what was true.

I’m glad I did.

[Tony West]

Thanks for the shout out Bill. I found the show very interesting, good job on there.

I liked your point about looking at ‘who” would be working on the project before you decide how to KW.

If it’s just you or a group of folks.

I was really happy with my organization during that doc. I never found myself looking for anything that I knew I had.

The Doc has really been well received. I just left Cincinnati last week for the Fernald workers and I will be coming out to Santa Fe for Los Alamos next.

[Tony West]

[Jenn Lindsay] “2) set up second external 4TB G-drive to back up first external 4TB G-drive”

Hi Jenn,

I don’t know if this helps but I also want my backup files to go to another drive also for obvious reasons.

The way I tend to work is I have a Library on say, an external drive and then I backup the Library to my HD.

In your case instead of selecting the HD like I did for my backup location, you could just select that second external drive for your backup.

Select the Library and then in the inspector click Modify settings

Then you would get this window

[Tony West]

That’s looking very good Flora, well done : )

[Tony West]

Flora, I think that the original shots looked a little orange to me on his skin tones.

In most cases there is a dominate color that puts the shot off. Sometimes it’s red or yellow, I will often go to the color board and drag the highlights over to that color and pull it down.

In this case I wanted to see what X would do on it’s own with a simple “color balance”

It did a pretty good.

To me, the X color balance left a bit of a blue tone that I took out by dragging a color correction filter on top and pulling that blue down a bit and a little less red.

I pulled a little of the saturation down a bit.

and brought down the blacks a little.

Once I got the WS where I wanted it I pasted the attributes to the TS. I’m sure others may have different techniques but that’s my 2 cents : )

[Tony West]

[Andrew Kimery] “Last year I worked on a historical doc and the script was 95% done before my first day on payroll. The director/producer had a premise of the doc, did the interviews accordingly, had them transcribed, and cut them into a script along with VO. “

I will toss in on this topic. After just finishing an investigative doc as the producer director and editor I can certainly tell you that my “script” changed plenty of times.

With my doc (and I’m sure many others) there was that “big fish” interview. You know, that one expert that you are chasing after.
In my case it was Bob Alvarez. I had no idea if I was going to get him or not. He lived half way across the country and also had not committed to it. I set forward putting the film together without him, but when he became available late in the game, everything changed.

I moved everything around to accommodate him because he is amazing.

He wasn’t the only interview that came along late in the game either.

When you are doing a doc, these people have no obligation to be in your film. They can say yes or no. It’s up to them and that’s part of what you have to deal with as a producer/editor.

X was perfect for me with this.

[Tony West]

My file is 24p EXT3

So far so good, but I have only shown in 4 theaters at this point.

I was told by the people that made mine to go with 24p only.

[Tony West]

Thank you James for the tip.

I ended up guessing at sizes until I got the look I wanted but I will try this for the next one.

[Tony West]

[Michael Gissing] “Tedious but less trouble than getting a DCP to work in cinemas.”

Have you had trouble with DCP?

So far I have been really impressed with how my film looks on the big scree as far color, sharpness and sound. I have not experienced any problems from either DCP file I have as for as load. (knock on wood)

If I had to deliver to HDCam I would outsource that. It would be so rare that I would do it, it wouldn’t be worth it for me to maintain the deck.