Trevor Asquerthian
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AE Expressions Coins
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COW Coins
Forum Replies Created
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Don’t forget…
The HP z820 is very fast & now has thunderbolt (if you need that kind of thing). Pricey for doc work though… the z420 probably a better option.
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Didn’t mean to dis FCPx… I’d quite like someone to pay me to edit on it so I can learn it properly… No sign of that (in London) yet though.
Patrice is right that HBS (who were all FCP7 in 2010) might well go on a different tangent next time… (all the big networks in the iBC will be on Avid, again)
My main point was that these tournaments are great R&D for manufacturers.
(Listening & paying attention is key though.)
BBC, ITV & Sky (if anyone cares) are largely Avid in their main broadcast centres – with hefty investments in Interplay/Isis that is likely to keep them that way.
22-26 year olds can edit with what they like – but currently they’ll need to know Avid if they want to earn much of a living working directly for broadcasters in the UK. Or LA or NY or CT for that matter.
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You need a production switcher… cheapest would be the blackmagic atem range https://www.blackmagicdesign.com/uk/products/atem
You’ll have to render out your backgrounds / foregrounds first and play them in ‘live’
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Not sure that’s true – in UK now all my freelance work is Avid (was up to 50% FCP7 for a while). Doing Paralympics on avid, did Olympics on Avid, will be doing French Open & World Cup on avid (although host are adobe for that, which is interesting).
MC software is the loss leader but is essential to their continued existence.
ISIS/Interplay/Airspeed all strong products now. Used Artist Control to live mix segments – made me want to buy one. If I was stock-savvy I’d be buying Avid, there are a lot of older installations around the world that will need to pony up for upgrades in the coming years…
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If you are feeding it the wrong type of composite video then you would see no chroma, but probably also off-lock if it is a PAL monitor and you are feeding it NTSC…
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[Quintus Lubbe] “When I need to cut a montage and have to time music very specifically to the edit I often cut up a track to suit a certain duration. But I’ve found that when I cut up my track the second (third, fourth) part of the track is connected to a different clip in the primary storyline than the first. When I then start shifting clips around and adjusting clip durations, because the music is attached to different clips my track edit slips out of sync and I have to go back and adjust the music edit again.”
I asked a similar question here .
Mostly you need to put the music in a compound secondary storyline I think.
Whilst you can edit audio into the primary storyline, if you move it out to a secondary you can’t put it back into the primary.
[Quintus Lubbe] “I also keep fighting a battle between the skimmer and the needle in the timeline. The default seems to be that a cut is made where the skimmer head lies and because I’m doing a fine edit on the timeline using JKL and the arrow keys, which move the playhead needle, I keep having to undo cuts as they’re made where my mouse is lying on the timeline, i.e. The skimming needle.”
For this I think you need to get into turning skimming off and on in the timeline as you need it.
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You have both sides of the trim selected, so this can only be a rolling trim.
You need to use P or ] to select either side of the trim (or have ‘cycle trim sides’ assigned as a shortcut to work like the U key in FCP7)
Sync lock is off by default so…
Turn sync locks on for all tracks by selecting it for the TC track – you want the / in all the buttons between the Source and Record Timeline Tracks
Now all trims will stay locked, as FCP7 is – although you may have to select extra trim points to be allowed to trim. If you turn on ‘linked selection’ this may help – but I find this only works on the simpler/stringout/assembly timelines.
There are many other ways to trim a cat…
You may want to assign, and explore, the ‘top’ and ‘tail’ shortcuts. Find your in point for your first clip in the timeline and hit ‘top’ will do the ‘mark clip’, ‘mark out’, ‘extract’ keys all at once. Repeat with ‘tail’ when you find the out of that first clip. Repeat…
Although being mouse driven, the smart tool with linked selection on is actually pretty good for trimming. I like it so much I’ve re-assigned my keyboard to be 90% left hand.
Mostly its about hours spent trimming… eventually you find the ways that work for you.
And there’s more avid folks at community.avid.com
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[Jeremy Garchow] “You’re right Trevor in that there is no multichannel audio monitoring. You can only see the summed output unless you solo Roles.”
So it seems to me that there’s 2 feature requests arising here:
1. Ability to assign roles to individual tracks on import / in media browser
2. Output bussing for Roles (e.g. in this case FULL MIX role -> A1 output, INTERNATIONAL role -> A2 output) with consideration for Mono vs Stereo vs Surround
I realise that for many audio is less important but in the niche OB/EVS market that FCP7 had cornered (and where OB companies are looking at Adobe PPro as a replacement).
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Jeremy, Andy, Nikolas, Thanks for the Roles info – I agree it does work as described.
I still think I’d probably go the multi cam route as it is easier to add transitions and adjust edits. (It also gives me the chance to nest a score bug and be editing with a composited clip. )
The roles workflow also means it’s tricky to monitor both audio tracks for level, while only listening to the the ‘full mix’ output. Typically I’m editing 2 x stereo pairs, and only listening to the full mix, but I want to see that tracks 3&4 look right on the PPMs. Not easy with only a 2 track output, however easy it may be to make a multichannel QT at the end.
Also often the delivery is baseband video – i.e. play out straight from the NLE, rather than making a file. Again FCPx lack of audio mixer precludes this as far as I can see.
But i’m only trying X out, not editing on it for real, so there may well be better / easier workflows when doing it for real. Interested to hear them / see examples. Thanks again for the feedback.
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I’m assuming he is doing FAST turnaround editing; what you edit is what goes to air.
EITHER a play out or an export to EVS, which is STEREO where LEFT is FULL ENGLISH MIX and RIGHT is INTERNATIONAL (i.e. NO DIALOGUE)
This is how sports turnaround editing has been done since the days of 1″ – and shows up the lack of a decent audio mixer / bussing in FCPx quite well.
If the delivery requirement were 2 x STEREO (1&2 = Full Mix, 3&4 = M&E/International/FX Only/Whatever you want to call it) then this is even trickier / impossible in X as it currently stands.
The choices of sequence / timeline / project in X are Stereo or Surround – and I think to do it in a Surround sequence would be too tricky.
Better to stick with FCP7 or move to Avid or PPro.