I’ve been working on a several animated projects in the past few years (Tron: Uprising, Kung Fu Panda 3, an upcoming feature produced by Paramount Pictures among others) and one thing that has always been difficult is the manual process of breaking down dialogue. I’ve learned to become very fast at it, but it’s still very time consuming and always seems to happen when there is already a crunch going on in editorial.
I’ve been trying to figure out how to streamline the process and I grabbed some friends and colleagues and have come up with this application called Smart DX. It helps you track takes while you are in the recording session and lets you change marker colors (circle takes vs. false starts vs. producer picks) as you go.
I’ve created a KickStarter page for the project. I’ll post some tutorials in the next coming weeks as to how this can be useful for one man band shops, small companies and bigger budget features. Take a look at the project and if you the project would help you, reserve your copy.
With all the craziness of the Final Cut X going on, people threatening to switch NLE’s, wondering where to go and every blogger writing 10 articles about why FCPX is great or why it isn’t, I decided to take action. I didn’t want to write about it right away though. Cammon and I made our video about why you can’t use FCPX on a feature and that’s that.
Instead of talking about “what will we ever do to survive,” I decided to look for what answers there were. I thought back to the Media Composer 5 road show I attended in Burbank at KeyCode Media last summer and in my notes I wrote about Boris coming out with transfer software, similar to the infamous Automatic Duck. I don’t have Automatic Duck and I have looked into it before and for the type of projects I am doing lately, I just don’t have the budget for it. Especially because it is a one way street. So while you read this review, keep in mind I haven’t ever personally used Automatic Duck, I only know what it can do and know how it has performed for friends.
There are two great benefits I see immediately for editors who want to use Avid more in their workflows or want to keep aspects of FCP in their new Avid lives. I’ve successfully transferred a few Final Cut Pro projects into Avid using the Boris AAF export tool, even using AMA (ProRes only tested). I have also tested it with batch importing this clips. So there, I have moved a few clients archived projects they still like to pull from into the Avid, out of Final Cut.
A short video review of the overall use of the AJA IO Express while I used it over 30 days. I used it with Avid Media Composer 5.5, Final Cut Studio and part of the Adobe Production Premium. I’d give it a 4 of 5 stars at the moment, but in the future I can see it having a full 5 stars once Avid and AJA start to work together more in the future.
After all this hype that has been circulating about FCP being dumbed down for only the prosumer and not the professional video editor, what will FCP have to offer you in order to stay as popular as it is? Whether people switch to Avid or even Premiere (watching another production company nearby use the CS5 AE to Premiere to AE features are pretty cool) is another question on its own, but seriously though. What would FCP 8 have to add to its features/interface to stay or become the standard in your world?
Obviously it would have to match everything Premiere and Avid are offering with their new upgrades, but what else? All I see from Apple people is “very awesome” or “exciting” or if you want exact words,
“”Final Cut Pro is the first choice for professional video editors, and we’ve never been more excited about its future,” Apple spokesman Bill Evans told CNET. “The next version of Final Cut is going to be awesome, and our pro customers are going to love it.”
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