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TOPIC: Global Sony commercial edited in FCPX

Global Sony commercial edited in FCPX 05 Jun 2014 18:32 #47339

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This is a Sony Xperia commercial I recently cut in FCPX. It was a global campaign for the new mobile, with multiple versions and a ton of footage.

For anyone who’s are interested, below is some info about the job and some general ramblings about how I worked. Apologies it it bores, but I hope you enjoy the ad at least!


vimeo.com/97366874






Project Specs

1x 90sec Commercial with 60sec cutdown and a cinema version.
5x 30sec product films with 20sec and 15sec cutdowns

Shot over 9 days in Berlin on Arri Alexa.
Cut on location and back in London.
Grade, effects and sound were all done at post houses in London.


Set Up

On location I used a 15” Retina Macbook Pro with 16GB Ram, 4TB G-Drive for media, HDMI to the HDTV in the room for big screen joy and a Jambox for sound. Back in London I had a 3 screen set up off a Mac Pro and an assistant editor using an iMac.


OnSet.jpg


LondonSuite.jpg




Organisation

Each night the DIT handed over ProRes transcodes of the days rushes and I would then get organising and selecting as the shoot continued.

As well as the media on the G-Drive, I also let FCPX create proxy files. With my library on the MacBook it meant that if I needed to pop down to set I could move quickly without dragging a drive and cables about, safe in the knowledge that all my media was there in proxy format. One note, after importing all video i set my fcp to “copy media into library”, just so i knew graphics and audio would be with me when I switched to proxy.

After using Batch Renaming to match the Slate/Take numbers (which is really fast), I broke down footage into keywords based on scenes. Then within each scene I used the “scene” metadata column to organise the shots further. Meaning whether a-cam/b-cam, sequential or not, all relevant footage would be grouped together. And I could hide sections within a keyword if I wanted to concentrate on a certain part.


Scenes.jpg



I used keyword collections in other folders for music, audio effects and graphics. I tend to keep all my media in one event. This is because I often need scenes/keywords which span a few days shooting. Keywords in separate events are new instances and only contain media from that Event (obviously). This doesn’t seem to cause me any issues. On this job I also tagged any parts of shots which has the product in. This wasn’t a rigid process I went through at the start, I just tagged as I was selecting. Very handy for later down the line when clients asked to see other options for product.

I made Smart Collections for my edits. Using “is” and “is not” parameters FCPX can create collections which automatically sort your cuts. For example, when i stated cutting my 90” down to a 60”, I duplicated the edit, renamed it with “60 sec” and it automatically disappeared from the 90 sec collection and appeared in the 60 sec collection. The same was true of sequences prepped for EDL and AAF outputs. And when my assistant sent me XML of cuts, they automatically appeared in the correct place.


SmartCollections.jpg



Any syncing was done with or timecode or markers and the synchronise function. Interestingly I found that if I had a 50fps shot with corresponding audio track, I could sync at the clapper, then change the audio’s connection point to the clap. then if I chose to speed up picture to fit sound, or slow down sound to fit picture, it would ripple around this point and sync perfectly.


Sync1.jpg


Sync2.jpg



Anything shot ‘Low Mode’ on a steady cam (upside down) I had to open in its own timeline to rotate 180º. This is a little frustrating. It would be great if we could edit transform parameters etc on groups of clips in the browser, just like we can with metadata.


Selecting

I skimmed through and rejected all the crap before action and after cut and hid the rejected so i didn’t have to waste time again reviewing useless footage. This generally seems to remove about a 3rd of the rushes running time instantly.

I then went through and selected all the stuff I liked using Favourites. This is so fast in X. JKL to navigate, In, Out, F for favourite on the fly, no stopping to write to a timeline, copying between timelines or selecting the next clip from a bin. No Stopping, more editing.

And later when it comes to reviewing selects if I (or the director) feel I’ve missed something I can instantly switch my view from ‘Show Favourites’ to ‘Hide Rejected’. If I need to add a new favourite at a later date, it’s instantly there in context, across all the associated keywords. Each Scene keyword can act as raw rushes, a string out, and selects at the click of a button. It’s really dynamic.

Persistent in and outs also helped me review take options quickly. By setting the in and out on all the bits clips you want to compare, you can then use the up and down arrows to quickly jump back and forth between the options before hitting F on the best ones. A very small detail but makes it so much better.


InOut.jpg



Editing

I find editing in the magnetic timeline really fluid and fast. I worry less and less about sync. A few simple things make this possible. Connecting the music to a specific sync point meant that I could ripple the shots at the start to my heart content, knowing that the rest is in sync. Later in the cut, when things are more locked down timing wise, I used the “lift from storyline” command a lot to work on a little section before dropping it back in.

I edit on the keyboard as much as possible. [ ] and \ keys for selecting out, in and roll, make trimming really fast. I’ve NEVER used the precision editor, it feels like a redundant feature. But i also don’t feel the need for an AVID style Trim Tool, it’s not something i ever used either. There is a keyboard shortcut for almost anything. But a lot of these aren't even assigned by default. When I'm thinking about or using a feature i'll often have a search in the keyboard editor to see if there are any hidden shortcut gems lurking.

Retiming clips is incredibly fast. I’ve set up shortcuts for 2x speed change and reverse (as i use these most frequently). The Blade Speed function is brilliant. Just playing with a clip, pushing and pulling frames into the right place visually rather than punching in numbers and looking at a graph feels so right.

I was able to do most of the comping/matting and screen replacement directly within fcp (thought this would all be done later but dedicated VFX artists) to a pretty high standard. I love compound clips for this. Grouping shots and compressing them into a neat bundle is really elegant when you are trimming and finessing a cut. And breaking them apart ready for output to online is made really simple with the Break Apart command. If you title them all with a common name (I call them all ‘something-something comp’), then you can search for them in the timeline index, select all, and blow them all apart with one short cut.

A lot of people seem to complain about the audio in X. I personally love it. It feels like its build for fast and efficient audio editing. Dynamic waveforms, fade handles, clips which jump out the way, range selection, speed changes with and without pitch shift are great. To select a region, duck and raise it, is so much faster than manually adding keyframes, and selecting and moving groups of keyframes is so handy.
Quite often on this job i would adjust the volume of a clip, with the keyboard, while playing back the edit. By the time we get to the end of a watch through, the change is made and ready to be reviewed. On most jobs I get heavily involved in sound design to help the cut. FCPX allows me to experiment and play much closer to the ‘speed of thought’ than any other NLE.

One tiny niggle is that with a lot of audio clips, the timeline can get a bit messy, even if you keep on top of it. This would be solved if the audio could be organised by roles (mentioned on these very forums). Horizontal regions where clips are grouped by role. I already have everything tagged as ‘Music’, ‘Dialogie’, ‘Effects’ and ‘VO’ so why not automatically use this metadata to make me look neater. X2Pro and Logic X both do this (in a track based way).

For the client edit we had an un-released Michael Jackson track to cut to (this is not in the directors cut shown above). I was given the stems so we could tease the track in, and only use it fully at the very end. I tried something out here which sort of worked. I put all 20 stems into a multi clip and enabled all the audio at once. I used this as the track to cut with, connected in the timeline, If i needed to drop out the bass or voice, for example, I expanded the audio components, dropped the relevant stems in volume, then collapsed it down to a manageable again. Also, once expanded you can ‘clip skim’ each of the audio tacks individually and check out whats going on in that stem without having to disable/solo any stems.



Stems.jpg



There’s so much I could mention here about the things I love and which work brilliantly.


Output

As I’m not finishing the colour or sound in the offline the only outputs I really do, besides EDL’s and AAF’s, are viewing Quicktimes. For this I use a painfully simple method, just because its very quick and used no brain power. I export a same as source Quicktime from fcp, open in Quicktime X, Export to 480p. It’s so quick and I haven’t been able to replicate the speeds in compressor. A 90 sec HD ProRes takes 12 seconds to compress. It’s fast, easy and looks great. Cut’s are then uploaded WireDrive for presentation.



Shared Workflow

In the latter stages, once we needed multiple versions/alternate cuts, I had an assistant working alongside me. For this we had a duplicated Library (duplicated after all media was imported). We then passed cuts back and forth with XML’s and Dropbox. This works fairly well (certainly better than previous versions of FCP), but it would be great to have something like, but better than, Avid Unity for true Project (Library) collaboration.


3rd Party Support

I used a few third party apps and plugins.

- Final Cut Library Manager for keeping those render files in check.
- EDL-X to send the picture to the grade, which is brilliant. so fast to make layered FX Edls particularly.
- X2Pro to send AAF’s for audio. Makes you look link a really tidy editor by allocating tracks based on Roles and Sub Roles. Though I occasionally get compatibility issues when the sound house isn’t using Pro Tools. Need to work this out.
- Slice X/Track X. Worked really well for all my comp shots and screen replacements.


Negative Bits

A few negatives, and these feel like bugs and things which need ironing out as they seem to boil down to slowdown and lag. A large number of Sequences (projects) seems to significantly slow the UI down. Sometimes having the Inspector open seems to do the same, and weirdly a lot of markers also also do.


Improved/New Features

While I’m here i may as well rattle of a few ‘wants’.

Dupe Detection. An old FCP Legacy feature which hasn’t found it’s way back. It’s so easy to accidentally add more to the end of a clip which might be duplicated elsewhere in the timeline. And sometimes you just end up with two copies of the same clip. I’d love to have a indicator of this again.

Playing through Clips in the browser. When playing back Favourites (reviewing all the selects with a director) it stops at the end of each clip/favourite. If I want to play through a big chunk of selects in one go I have to keep skipping to the next clip, or make a sequence to play them in. It would be great if it just played through from one to the next when in filmstrip view, after all, the new iMovie does this already by default.

A Master In-Out selection. When you put an In and Out on the timeline and delete, it only removes connected clips which are directly connected to clips in the selection. Any clips over hanging, remain. Meaning I often end up with loads of little tail ends lying about. Currently the only way clear this to do this is to Blade All and then manually select and delete. An In-Out delete which included connected clips would be great.

Scrolling Timeline Playhead? No thanks.
———


There are LOADS of other things I could mention but it’ll take forever. I will just say that all the directors I’ve worked with in FCPX have loved it. After the usual “But isn’t FCPX rubbish” they quickly see the benefits and come to love the interface and the way I work with it.

If you’ve made it this far, thanks for reading!
Last Edit: 07 Jun 2014 07:37 by TGC.
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Global Sony commercial edited in FCPX 06 Jun 2014 00:16 #47353

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Nice work!.
Thanks for sharing.

Leonardo Hancevich
www.leohans.com
Editor - EDA Asociación Argentina de Editores Audiovisuales.
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Global Sony commercial edited in FCPX 06 Jun 2014 05:34 #47360

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Fantastic write up. Thanks for taking all that time to write it. And the spot is beautifully edited. Tremendous job.
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Global Sony commercial edited in FCPX 06 Jun 2014 06:23 #47361

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Thomas,

Thank you for sharing this. Very interesting write up and a great job! Congrats.

@Peter: I think this should be on the Home page.

- Ronny
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Global Sony commercial edited in FCPX 06 Jun 2014 06:33 #47362

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Great read!

Thank you for sharing TGC.
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Global Sony commercial edited in FCPX 06 Jun 2014 09:00 #47367

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Thank you very much for sharing, TGC!

It's easy to find tutorials online about almost any feature inside FCPX. But it's rare to find detailed articles like this about real world projects and workflows. So this is greatly appreciated!

For instance, everybody talks about the power of the organizational tools in X (Keyword Collections, Smart Collections, Favorites, Rejected, etc.) but it's hard to find editors sharing the way they use this tools in order to keep their projects organized.

I really liked the way you took advantage of them and I think we all learned something from that.

Well, keep up the good work!
Jesús Pérez-Miranda
Cut People CEO & Founder
www.cutpeople.es
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Global Sony commercial edited in FCPX 06 Jun 2014 10:56 #47368

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Thanks all!

I'm tempted to keep adding bits as I keep thinking of more to include!
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Global Sony commercial edited in FCPX 06 Jun 2014 11:31 #47370

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TGC wrote:
Thanks all!

I'm tempted to keep adding bits as I keep thinking of more to include!

Great! Keep them coming!
Jesús Pérez-Miranda
Cut People CEO & Founder
www.cutpeople.es
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Global Sony commercial edited in FCPX 06 Jun 2014 11:52 #47372

funny - this exact my workflow on my hobbyist proj ... NO kiddin' :P

THANK YOU for sharing, how The Big Boys play with my favorite toys...
(and to get serious: on a much, much lower scale, this is indeed my workflow: importing, converting, tagging, editing...)

You'd like to share a word about COLOR CORRECTION/GRADING?
Last Edit: 06 Jun 2014 11:54 by Karsten Schlüter.
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Global Sony commercial edited in FCPX 06 Jun 2014 15:05 #47382

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Workflow, shmerkflow. First and foremost, that is a beautifully edited spot. Great work.
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Global Sony commercial edited in FCPX 06 Jun 2014 17:25 #47391

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Updated with a few bits and bobs.
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Global Sony commercial edited in FCPX 06 Jun 2014 22:03 #47412

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Karsten Schlüter wrote:
You'd like to share a word about COLOR CORRECTION/GRADING?

I didn't actually do the grade on this. A dedicated colourist on a Base-light with mad skills did! As much as I wish I knew how to make it look that great, it's great to pass it off to someone else who can give it that next level polish. Same goes for sound mix.

What I can say is that I love the CC tools in fcpx during the edit. It's really fast. You can have the inspector open all the time and make quick changes as and when you need. And when you head deeper in with mattes and colour masks, it's really powerful. I still think the colour board is a bit too small, thus making it less precise, but I've come to love the 'up for more, down for less paradigm'.

How do you find it?
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Global Sony commercial edited in FCPX 07 Jun 2014 05:37 #47444

TGC wrote:
.. How do you find it?

oh, ooh ... minefield!! ;)

I was ~25y in the ad industry, text/concept, not AD myself but had wonderful partners, teaching me a lot. In terms of movie-making, I'm an 8y old ....

so...
in terms of photography? Impressive (that huge red fabric!).

In terms of editing? Awesome! I'm a huge fan of 'flow', those now-a-days 3-frame-RedBull-edits are not my thing. Your edit flows perfectly!
The term 'directors cut' let me assume, they dumped tons of clips on your table, but it wasn't shot with a real 'screenplay' ... see my question below!

in terms of advertising? 'Details make the difference' - aha. What details? And what has it to do with ballet? (btw: awesome artists!) .... this is called 'borrowed interest', like the half-naked girls on cars in the 50ies .. a wonderful movie about dancing, and ballet-making (does this word exist?? :blink: ) - but has ZIL impact on product, brand, features.

It's water-proofed ... proofed by a choreographer, who's watching movies in his tube and holds an electric device under water! ha ha... no, me German: har har ...

it catches the eye - no doubt! A wonderful movie, and chapeau you were part of the team making it!
but .. it just catches the eye.

.. what is the name of the telephone anyhow...? :silly:
(booo, copy-writer, behind your keyboard and just shut-up!)
__________


ahh, my follow up Qs:
Did they use a storyboard/animatic/'mood-board', mood-edit?
Or did they, as I assumed, just delivered tons of beautiful pictures and you did the artistry ? ...

and did you edit 'on music'?
Last Edit: 07 Jun 2014 05:47 by Karsten Schlüter.
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Global Sony commercial edited in FCPX 07 Jun 2014 07:02 #47448

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Karsten Schlüter wrote:

oh, ooh ... minefield!! ;)/quote]

I actually meant how do you find the colour board! But thanks!

There was a strong storyboard, there always is with big ads. And that storyboard gets shot no matter what. It's a contract. But this is totally restructured (even the non directors cut) from the original idea. It was very linear originally. The structure here is something we found in the edit.

If you're interested, below is the cut the client used. Main difference is music. But also a few other scenes and shot selections and product bits.


So the colour board?
Last Edit: 07 Jun 2014 07:03 by TGC.
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Global Sony commercial edited in FCPX 07 Jun 2014 19:50 #47465

TGC wrote:
...How do you find the colour board?

cmd-6, perhaps ... ? ;)

no, kiddin' , as a hobbyist, the color-board is more intuitive than the 'classic' three-wheeler as in Resolve.
If my picture is way too green, I 'minus' green - as in a multichannel audio-equilizer. Done. ... I learned to check the Waveform monitor for highlights and blacks. In many cases, 'Match Color' fixes my weird recordings.

for color-correction nice. for correcting white-balance not-so-nice, plugins like Hawaiki help the amateur. for color-grading? ... again, presets, canned settings do an excellent job. I learned to create CSI- or TopGear-sky with masked gradings. Sort-of :lol: -

again: me no (movie makin') pro, my standards are way below yours!
Except, when it comes to 'concepts' .... :whistle:
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Global Sony commercial edited in FCPX 08 Jun 2014 03:20 #47469

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"If my picture is way too green, I 'minus' green - as in a multichannel audio-equilizer. Done."

Nope, not anywhere near the same thing. When you "minus green" you ADD in more red. That is the physics of light. You can not subtract without adding something else. It is not "revealing" more of another color, it is adding more of the complimentary color, making it "stronger", an additive process. So, unless you understand additive color theory, you really don't know "intuitively" the results of adding in more of an unknown color, that the color board doesn't show you.

When you "minus" a specific audio frequency, you are not adding anything else. Other frequencies become more revealed, but not stronger. Because the overall gain comes down. A subtractive process.

Light in video/film is nothing like audio frequencies. Sorry, have to absolutely disagree, based on physics.

Hate to rain on the parade, but color wheels, when you pull away from one color, is exactly the same as pulling down on a color in the board, no difference there, minus is minus. The only difference is that on a wheel you know INTUITIVELY what color you're adding in more strongly.

Sorry if anyone takes offense. I've been teaching color grading for a decade now, and I just don't see the color board as "intuitive" beyond the most amateurish sense of the term.

The "board", which still measures itself in wheel degrees, is not "professional" in my view, because it doesn't give you all the information you need to do the job properly, in an educated, informed manner.

For example, I need to adjust between the red on the left side, and the reddish on the right side. How do I cross that and fine tune in that range? On a wheel there are no limits. On the board, there are. I have to drag a puck totally to the opposite side, to try to fine tune reds.

If the board were so great, why are we flooded with more professional color grading tools, based on levels and wheels?

Just my 2 cents. Flame on...
Last Edit: 08 Jun 2014 03:27 by BenB.
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Global Sony commercial edited in FCPX 08 Jun 2014 04:29 #47472

absolutely no offense taken, Ben! I'm a Learner, no pro… (I'm repeating myself…)

and I hope, you're not offended too with the following:

No idea behind the 'physics' of the color-board - but in USAGE it reminds me to the well-known graphic-equalizer. Sorry for being stubborn, but I do indeed - user experience/GUI, not physics! - minus a color.

knowing an atom bit about 'color', one of my first tests and questions was: What happens when I 'ADD' red instead ('add' in parenthesis, because you're 101% right, I can not minus/add a color...) => in my dead-eyes, FCPX' Color-Board gives different result! ....

and that's probably the biggest problem for a pro: YOU do have the theory-background of 'color' - for you, a 'color-graphic-euqlizer' is NOT intuitive, is against your knowledge. (and as far as I have understood color-correction, that's why the color-board makes it so difficult to correct white-balance, RGB vs YUV, ... that stuff? ... way above my hobbyists head.... and need :lol: )

for ME, I can 'minus' or 'plus' a color, by sheer eye-view, "oh, a tint, minus it.", "hmm, needs some push in blue, puck high, done!" - in this case, it's iMovie-pro after all. :lol:

...

maybe, in the future, I'll try to understand Resolve (I dl the free lite version, launched it, saw the interface, quit it...) - REAL color-correction (and grading) is no look-Mom-no-hands, no-manual-needed task, I'm fully aware of that!

<creeping back under my stone>...................
Last Edit: 08 Jun 2014 04:33 by Karsten Schlüter.
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Global Sony commercial edited in FCPX 08 Jun 2014 08:10 #47473

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You're right Ben. I personally would never do any proper grading in ANY nle. But then I have the privilege of getting to work with some incredible colourists, so I'm spoilt.

In my world all I use it for is quick offline adjustments, for which it's great. But I totally get that a lot of people do finish inside of X, and it's a tool that's lacking.
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Global Sony commercial edited in FCPX 08 Jun 2014 11:00 #47478

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TGC wrote:
Improved/New Features

While I’m here i may as well rattle of a few ‘wants’.

Dupe Detection. An old FCP Legacy feature which hasn’t found it’s way back. It’s so easy to accidentally add more to the end of a clip which might be duplicated elsewhere in the timeline. And sometimes you just end up with two copies of the same clip. I’d love to have a indicator of this again.

I completely agree. A simple orange bar to highlight the duped frames in the timeline (like the "Used Media Ranges" indicator in the Browser) would do just fine in my opinion.

I also believe that adding "Out-of-sync" indicators wouldn't hurt either. They are less needed in FCPX than in other NLEs, I agree. But there are times when they could be very helpful. For example, if you Detach the audio of a multicam clip to adjust shots with a bit more freedom (Slipping and/or Sliding a shot out of sync when needed).

TGC wrote:
Playing through Clips in the browser. When playing back Favourites (reviewing all the selects with a director) it stops at the end of each clip/favourite. If I want to play through a big chunk of selects in one go I have to keep skipping to the next clip, or make a sequence to play them in. It would be great if it just played through from one to the next when in filmstrip view, after all, the new iMovie does this already by default.

This would be an awesome feature! It never occurred to me and I also didn't know that iMovie had it already.
While many editors praise Premiere Pro's pancake timeline, most FCPX editors have stopped using reels for selects (even Chris Fenwick has!). That is because using the Browser instead is a much better and dynamic way of reviewing content. We can add or remove clips (and sections of clips) by filtering with simple shortcuts. We can also change the order of clips (by sorting them in List View). These things just can't be accomplished in a selects reel, which in my opinion is such a linear way to work, if it weren't for the fact that you can jump from one point in time to another using markers and commands like "Go to Previous/Next clip".

Anyway, things like this make FCPX the least linear editor of all the Non-Linear editors out there. But now that you mention it, the only thing that was lacking in order to make the Browser work as a 2.0 selects reel is the "continuous playback". This is a great feature to ask for! It could be implemented as a simple "loop" button at the top of the Browser that we could toggle on/off (just like in iTunes!) in both views (Filmstrip and List View).
TGC wrote:
A Master In-Out selection. When you put an In and Out on the timeline and delete, it only removes connected clips which are directly connected to clips in the selection. Any clips over hanging, remain. Meaning I often end up with loads of little tail ends lying about. Currently the only way clear this to do this is to Blade All and then manually select and delete. An In-Out delete which included connected clips would be great.

I know exactly what you mean: we can "Delete" and "Ripple Delete" a range of the primary storyline but not a range of the whole timeline. The "Blade All+Blade All+Select clips+Delete" combination requires too many steps and involves using the mouse, so it is far from ideal. We should have the ability to "Delete" and "Ripple Delete" timeline sections as well, maybe by using different modifier key? My suggestion:

· [Cmd]+[Delete]: Ripple Delete a timeline section while removing the gap (the default mode).
· [Cmd]+[Shift]+[Delete]: Delete a timeline section without closing the gap (adding a Gap Clip to the primary).

If it's not too much to ask, we could even get a visual indicator for these commands: for example, two yellow vertical lines appearing when pressing the [Cmd] key, after a range has been defined in the primary.

TGC wrote:
Scrolling Timeline Playhead? No thanks.

Yes, this is Richard Taylor's #1 Feature Request. :) But I agree, it's not the most needed feature inside FCPX, although it would be nice to have it as an option.

I guess many editors would have it turned off since it may interfere with real-time editing, which is a really great FCPX feature, that never gets mentioned enough.

I would rather have features that would actually improve FCPX editing capabilities. While most editors love the way we can organize, tag and review media inside FCPX, I guess we also agree that there is quite a lot more room for improvement in the timeline editing department. I have a few ideas that would love to share, but this post is getting too long. So maybe later if any of you are interested. B)
Jesús Pérez-Miranda
Cut People CEO & Founder
www.cutpeople.es
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Global Sony commercial edited in FCPX 08 Jun 2014 16:08 #47487

  • BenB
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First, my colorist experience has nothing to do with how I view a color board. I use the board a lot. But I find third party color plugins way easier. And 90% of my color work is done inside of FCPX, not in Resolve. I have to look up what complimentary colors are, I don't have them memorize. So accusing me of some professional bias, no, not an issue, has nothing to do with my points.

And my questions haven't been answered:

1- When you MINUS red, how do you know what color you're ADDING? The wheel shows you before you touch anything. The bottom half of the board should show complementary colors, not the same color. THAT would be truly "intuitive".

2- How do I do minor adjustments from yellow side of the red spectrum, over to the purple side of the red spectrum, without having to drag from one side of the board to the other? The wheel doesn't have this restriction.

So HOW exactly is the color board superior to a color wheel?

They both do the exact same thing, give the exact same results, but the wheel has none of the physical and visual restrictions of the board. That's all.
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