Tony West
Forum Replies Created
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[Herb Sevush] “So at some point you have to make a decision as to what is to stay and what is to go – with Ppro I tend to do it before I move anything, with X you do it after the move.”
A lot of times I don’t have to do it at all after. The audio becomes a cross fade leading in from whatever new position I placed it in.
His examples are great but they are only dealing with one video clip and sound below.
I’m often moving multiple video elements also. Like the b-roll that goes with the person talking and the font that is over the person talking.
I might have 10 layers of video along with all of that audio that I am moving at once. It’s a snap because you are only grabbing one clip that everything else is connected to. Not having to select all of those elements before you move them.
I just prefer to grab one thing and move 20 at a time, than selecting 20 and then moving them.
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[Santiago MartÃ] “I’m going with a Raven, selling my FS7”
But what about that FS5?
I’m not really in the market, but that form factor is calling me : ) Just seems like a great grab and shoot camera for a doc (or a lot of tight handheld work)
The camera price race to the bottom is mind blowing.
How hard is it going to be to sell high end cameras with these undercutting you.
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[Tim Wilson] “Most people do what most people have always done: choose the production format that offers the most advantages for production, and treat distribution as a separate issue. “
That’s exactly the mistake they made with 3D in my opinion. They didn’t think enough about the end user.
The whole point of shooting 3D was that people needed to SEE it in 3D at home.
That required people buying 3D TV’s and they didn’t. Which I predicted. I felt like they had already spent a lot of money on their Hd TVs and would be fine with those for a while.
You are right though, it didn’t stop them from shooting those games in 3D to begin with.
Just like HD, once there is a lot more out there to watch in 4K it will pick up.
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[James Culbertson] “I’d also question whether the industry as a whole is moving towards 4K; It’s way overkill for most projects so I hope not.”
I must agree here. Way overkill with those giant file sizes.
I don’t see a real demand for it in broadcast TV until somebody starts broadcasting in 4k over the air.
You gonna shoot the coaches press conference in 4K, why?
I remember shooting 3D for ESPN. It was gonna be the next big thing. it never went anywhere in the end.
I can see it for the big screen though.
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[Elizabeth Perlman] “ursa mini 4.6k”
One of my clients just purchased this camera but we have not got it in yet. Looking forward to shooting with it and working with it in X
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[Jeremy Garchow] “[Shane Ross] “All the marketing for FCX as a professional editor is being done by FCP.co and others like it. FOCUS cut on FCX….did Apple mention it?”
Nope. Not here: https://www.apple.com/final-cut-pro/in-action/
Not at all!
“That line has been out there for a while that Apple is marketing this product to “prosumers”
but there is no evidence of that in their marketing and never has been that I have seen on their page from day one.Everything on that page is either top end film making or broadcast TV production with the acceptation of a college, but that is training people to be professionals.
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[Robin S. Kurz] “[Tony West] “I hear you, I don’t think they would bring back tracks for him.”
Mostly because that would simply not make any sense whatsoever and undermine the most basic principle/concept of X. Essentially rendering the brilliance of the magnetic timeline (and various other things) ineffective.
– RK”
Agree totally
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Tim, thanks for this post and I must say, this thread more than any other in a long time opens my eyes.
[Tim Wilson] “The reason why I mentioned that IMDb lists him first as a sound guy, “
I think I finally see it. THIS is not me as an editor.
I have always been about the visual first. I understand the power the visual image has on people.
What made the Ray Rice incident worst than other fools who beat up woman is there was a “video” of it.
You could ‘see” it and that was jarring to people. In a way that talking about other incidents weren’t.The reason that those fishermen fought so hard in Japan to keep that crew from shooting the Cove was because they knew that if the world ever “saw” what they were doing it would be over for them.
When you walk out of THE COVE you are not thinking about the sound mix. It’s the slaughter scene that will stay with you the rest of your life. It’s the violence and the blood in the water. It’s seeing someone lay their emotions out there in a way that makes you care about them even though you have never met them.
That is the power of images. I always tell people, if a picture is worth a thousand words then a video is worth a million.
When I cut, most times my focus begins with the images, it’s not that I don’t think audio is important, I know it is. But I’m all about the way the images come on that screen and effect people, and that’s why I love X. I can move images around quickly so I can “see” how effective the images will effect the audience.
I care more about organizing my IMAGES and finding them than organizing my audio in the timeline.
I thought that Murch was going to get into the weeds in that interview in a way that would allow me to learn something that I didn’t already know about X
I actually got more out of that discussion that Michael and Jeff had because they both got into details that Murch didn’t. That’s fine, it’s hard to do in a interview.
But their back and fourth opened my eyes. I can not mix like Michael, but I know what bad audio sounds like and I know how to fix it. I might have to do it differently in X but that doesn’t matter to me. What matters is what it sounds like in the end.
Everyone has their own priorities and I respect them.
I just want to make it clear for those who don’t know.
My priority is not being a fan of Apple or any other company. It’s not about ignoring deficiencies.My priority, is blood in the water.
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[David Roth Weiss] “Tony, what you keep forgetting is that you can’t just kick the tires on FCP X, which is the application’s #1 problem for experienced editors. There’s a significant learning curve for X that many experienced editors simply aren’t willing to invest their time in.”
I don’t really disagree with this statement David. I understand if he doesn’t have time to really dig into it.
I’m not mad at him : )
I was just saying I would be interested to know what he would think if he really gave it a go that’s all.
When I watched the video I was hoping to hear his opinion from his use and just break the program down.
Instead he was really honest about how he didn’t really have much experience with it.
“I can’t speak from an informed base as if I were using it” That’s a very honest comment from him.
I very much enjoyed his interview. I was very impressed with him. I’m not upset that he doesn’t use X in the least.
I never tell people they “should” use X
I tell people why “I” like using X
I have converted a number of people over to X and not one of those people did I ever tell “you should use it”
It’s up to them what they want to use. I think you can do a great job with any of these programs if you have talent.
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[David Lawrence] “If I may inject myself into this subthread 😉 I think the larger point here is even if Apple did listen to Murch, it wouldn’t matter; because the fundamental design decisions behind the FCPX timeline don’t work for Murch’s needs. Unless you think they’d add audio tracks if he asked ;)”
I hear you, I don’t think they would bring back tracks for him.
I would like to see if he changed his mind about X and using it if he knew more about it.
We won’t truly know unless he decided to really kick the tires.
I’m going to use it even if he never does though hehehe