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FCPX and documentary editing

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Oliver Peters
FCPX and documentary editing
on Mar 6, 2018 at 3:42:03 pm

https://www.provideocoalition.com/art-cut-documentary-editor-david-tillman/

- Oliver

Oliver Peters - oliverpeters.com


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Steve Connor
Re: FCPX and documentary editing
on Mar 6, 2018 at 4:52:35 pm

Thanks for posting that, really good, in-depth article and a story that Apple should be featuring!

In terms of technique he talks about.

"I chose to use part of the footage that some might have considered outtake. The camera operator had the camera pointed at his feet as he was re-positioning the camera. He almost trips on something, he tries to re-frame his shot and focus the camera. But by that clip in the film, it has the effect of bringing back the raw energy of being inside that room. "

It's exactly why I don't "reject" footage in FCPX

"Traditional NLEs have timelines. FCPX has storylines" W.Soyka


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Mark Smith
Re: FCPX and documentary editing
on Mar 6, 2018 at 5:05:37 pm

I reject footage all the time in X , just to clear the decks a bit and focus on what really matters. I’ll toggle over to all clips occasionally as the edit progresses and look specifically at rejected clips to make sure I haven’t skipped over anything or use.


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Bill Davis
Re: FCPX and documentary editing
on Mar 6, 2018 at 5:21:11 pm

[Steve Connor] "It's exactly why I don't "reject" footage in FCPX"

For some types of projects a Reject pass might be less unnecessary.

For others, I can’t think of a single valid reason to keep a long shot in mind where the camera kept rolling for 2 full minutes while hair and makeup fixed a problem and a distracted director failed to call CUT.

You use the tools the way they resonate for your style in X.

To me, since we’ve moved WAY beyond 20 minute Betacam loads - I suspect we’ll see ever accelerating shooting ratios - with more and more useless chuff that deserves ruthless pruning as early as possible.

I know David a bit and I feel confident that he would have seen and appreciated the “camera mistake” scene he described the first time he encountered it. And even if he didn’t formally tag the shake itself for retrieval when he first saw it - he would have been completely aware of its possible utility pretty early.

I’m convinced that FCP X will always appear to be a “glass half empty”situation (in some of its aspects) for certain editors

And the same features (ala Reject) will be seen as massively useful by others.

The point of the idiom is that people very often see the exact same thing in two completely different ways.

And so it goes.

Creator of XinTwo - http://www.xintwo.com
The shortest path to FCP X mastery.


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Steve Connor
Re: FCPX and documentary editing
on Mar 6, 2018 at 6:18:26 pm
Last Edited By Steve Connor on Mar 6, 2018 at 6:24:43 pm

[Bill Davis] "The point of the idiom is that people very often see the exact same thing in two completely different ways. "

Yep, some of us like to write our songs by "jamming" and others prefer to write a score before they pick an instrument up :)

I know plenty of Editors who prefer the former and I have to say of all the NLE's I've used I've found FCPX to be the most fluid for my "tactile" style of editing.

You really don't have to use any of the organisational features of FCPX to get benefit from it and I worry that that message gets a bit lost sometimes



"Traditional NLEs have timelines. FCPX has storylines" W.Soyka


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Oliver Peters
Re: FCPX and documentary editing
on Mar 6, 2018 at 7:29:35 pm

[Steve Connor] "Yep, some of us like to write our songs by "jamming" "

You'll note that he also mentioned "sculpting" ☺

- Oliver

Oliver Peters - oliverpeters.com


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Shane Ross
Re: FCPX and documentary editing
on Mar 6, 2018 at 6:48:34 pm

I online all of the docs David cuts...FCX to Resolve. So if you have any questions about that workflow, and any gotchas, I'll be more than happy to answer your questions.

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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Scott Witthaus
Re: FCPX and documentary editing
on Mar 6, 2018 at 8:05:48 pm

Really interesting and a good interview. Steve is (or at least was) an Avid guy and I appreciate him not making this into a "feature war".

Shane - I have done a bunch of 30 second spots doing CC going from X to Resolve ant it's worked pretty well. Spots are pretty easy, however, and now I've got a 60 minute doc going to color/finish in Resolve late spring, early summer. Mostly HD interviews mixed with archival photos and videos. Everything on one Promise Pegasus raid array. How simple does David make is timelines for import into Resolve? I'm assuming these are "clean" versions with no titles? What about Transfom moves whenever manual or "Ken Burns"? A couple times I have needed to put a photo over a generated clip (black). Will Resolve read that?

Also, I had to do a little CC in X for a Board of Directors "sneak-peek". I'm assuming its best to clear those off as well.

Thanks in advance

Scott Witthaus
Senior Editor/Visual Storyteller
https://vimeo.com/channels/1322525
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter


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Shane Ross
Re: FCPX and documentary editing
on Mar 6, 2018 at 8:58:21 pm

[Scott Witthaus] "How simple does David make is timelines for import into Resolve? "

Well, he and his assistant Jay Frosting do the prep, mainly Jay...and Jay is the best FCX AE in the business...at least I think so. He and David will collapse the cut to only the footage that is actually in the show..like ALL projects should do. Collapse all layering. Also...when they can, they undo compound clips. Some get through, but Resolve does recognize those, and I can uncollapse them on my end. But, best not to have them. Like nesting, undo that before sending to online. So it's a collapsed, simple timeline.

And they do all the conforming on their end, meaning the bringing in of high res stock footage to replace the temp in the cut. They have a Terranex on their end to do the upconverts and then cut in the masters. I used to do this, but for budgeting reasons, they do it on their end (I'm more expensive than an assistant editor). But that's GOOD...because now they have things full resolution on their end, and that helps in many ways.
1) I have them export a textless full res QT file, in case any issue arise, like plugins or transition effects that won't transfer, or clips that go offline and won't relink, or corrupt media, or any number of reasons.
2) The full res footage comes over, and I don't need to eye match cut in on my end. It's all there.

[Scott Witthaus] " I'm assuming these are "clean" versions with no titles?"

Nope, they send it with text. And that text does transfer...the positioning gets a little messed up, but I either fix that on my end to match their low res QT Reference they make...or what they do lately, is do all of the text as a GFX ...ProRes HQ with alpha, and send those. The only text I tend to do now are the credits. BUT, I could do them, In DIANA, I did all the subtitles on my end, the cards with story points were all done in GFX. But I do get a Full res QT sent textless, along with the H.264 chase QT.

[Scott Witthaus] "What about Transfom moves whenever manual or "Ken Burns"?"

Stills...tricky. Because they rarely link, if ever. Due to no timecode and no reel numbers, there's really no metadata to grab onto. There's the pic name, but apparently thats not enough for Resolve in this case. Works sporatically with Premiere, but I have yet to get it with Resolve. When it does, the GROW SHRINK parameters don't come over...especially since David uses a plugin for this. So, I have them export a QT file with ONLY stills on it, no transitions or GFX elements, and in 4K, because our final deliverable is 4K, and it'd be good to have the stills in the highest res possible. Where the footage, the best you can get hardware scaling is 1080...so resolve does the last bit of scaling internally. But with stills, and with titles and graphics (like maps), we aim for UHD masters so they are the best quality when we make the UHD masters of the show. I take that QT and chop out the stills and drop them into the cut. Then the transition effects which is typically footage that's layered with a BLEND mode (those transfer, BTW).

[Scott Witthaus] " A couple times I have needed to put a photo over a generated clip (black). Will Resolve read that?"

The BLACK will come over as a blank CUSTOM clip. I know that is BLACK and just remove it. BUT, as the stills are exported as a file, that comes over all as a baked in effect.

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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Oliver Peters
Re: FCPX and documentary editing
on Mar 6, 2018 at 9:14:58 pm

[Scott Witthaus] "Really interesting and a good interview. Steve is (or at least was) an Avid guy and I appreciate him not making this into a "feature war"."

Steve cuts in all NLEs, but I think his druthers are Avid. Although lately he's been working with BMD related to editing in Resolve, which he demo'ed last year at NAB. Steve's interviews never have been about feature wars.

- Oliver

Oliver Peters - oliverpeters.com


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Scott Witthaus
Re: FCPX and documentary editing
on Mar 7, 2018 at 9:34:13 pm

[Oliver Peters] "Steve's interviews never have been about feature wars."

Never said he was, but I have seen some articles that were a bit "praising" of Avid and it's features (which is natural because he knows that product so well). Maybe he learned a bit about X here for future reference.

Scott Witthaus
Senior Editor/Visual Storyteller
https://vimeo.com/channels/1322525
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter


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Gregor Queck
Re: FCPX and documentary editing
on Mar 8, 2018 at 12:00:51 am

The quote I liked most:

'Many people immediately reject the Magnetic Timeline because they just can’t get used to the idea of it after working with track-based NLE’s. At first I felt the same way. It definitely takes a couple weeks to get used to, but I can’t explain how freeing it is not to have to worry about keeping 16 or more tracks of audio in sync whenever you insert new material into a timeline. This shifts focus away from the technical side of using a NLE and allows you to spend more of your brainpower on storytelling. In the end, that is bound to result in better work.'

. . .


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Brett Sherman
Re: FCPX and documentary editing
on Mar 8, 2018 at 1:18:52 pm

Someone coming on to say "that's because you're not using Premiere/Avid correctly" in 3...2...1

--------------------------
Brett Sherman
One Man Band (If it's video related I'll do it!)
I work for an institution that probably does not want to be associated with my babblings here.


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