fcpx

Charting a course to balanced cameras (with a DSC color chart)

August has been a very busy and exciting month for me. I’ve had the opportunity to cut numerous promos for Discovery Networks. Unfortunately, amid all the hubbub, I was unable to attend the latest FCP X Round Table. Taking their rightful places at the table were FCPWORKS‘ Noah Kadner, editors Mike Matzdorff and Chris Fenwick, as well as trainers Mark Spencer, Steve Martin, and Alex Lindsay.

Last month, Noah Kadner asked if I’d be interested in writing up a guest blog for their site. I was happy to oblige and wrote up the following article about color matching my GH2, GH3, and GH4. It quickly became apparent that I’d also need to include a video tutorial to support the article. And so I did just that!

The article can be found here:

Michael Garber on the GH4 and FCP X

The video is here:

Final Cut Pro X 10.1.2 is out in the wild!

Very exciting morning here at ye olde Garbershoppe. Apple just released FCP X 10.1.2 to the wild. There are some great features in there. Check it out!

Screen Shot 2014-06-27 at 10.52.17 AM

 

For an in-depth analysis, check out Philip Hodgetts’s blog:

http://www.philiphodgetts.com/2014/06/final-cut-pro-x-10-1-2/

One key feature which is going to really make working in groups with FCP X much easier is the ability to store Optimized, Proxy, and Rendered media outside of the Library.

I’ll update more on this as time permits… Busy day!

Catch me on the MacBreak FCP X Virtual User Group Roundtable this Thursday, 6/19 @ 6PM PST

The other day, I mentioned that I was going to be on an FCP X road tour (of sorts) for the next couple weeks. Well, that tour begins this coming Thursday! I’ll be in beautiful Petaluma, CA on the Final Cut Pro X Virtual User Group Roundtable. Alex Lindsay, Steve Martin, Sam Mestman, Mark Spencer, and I will be taking questions from users about FCP X. You can check out the Youtube live stream through the link below:

http://hazu.herokuapp.com/pixelcorps/fcvug-1

On Tuesday, June 24th, I’ll be teaching a class on Prepping, Logging, and Finishing in FCP X at the Editor’s Guild in Los Angeles. The night after that, I’ll be presenting a demonstration of Final Cut Library Manager at the LACPUG.

I think I need to change my title from editor to professional demo artist… well, for this month at least ;-). I’ll provide more info on these events later in the week.

I Need an FCPX Editor!

I Need An FCPX Editor

Full disclosure: *I* actually don’t need an FCPX Editor. But my hope and guess is that there are lots of people out there who need a talented editor who knows FCP X but don’t really know where to look. So, I created two groups on Facebook: “I Need an FCPX Editor” and “I Need an FCPX Editor (Los Angeles)“.

Over the past couple of weeks, I’ve been privy to some very negative reactions to my mentioning that I use FCP X. These conversations were not heated and I just casually mentioned that I was working in X. Each conversation ended on the same abrupt note: the other person chose not to use X and their feelings were resolute. These conversations fueled my desire to create a place where people can post real work for editors.

My hope is that these two groups will begin to attract talent on both sides of the edit desk – producers, directors, coordinators, supervisors, editors, etc…  But, this only works if you are someone who is offering legitimate work and if you are a legitimate editor with real chops. I don’t want this to turn into a Craigslist jobs post site.

For now, the pages are set to private. That means anyone can join via request. Once the member list gets large enough, I’ll most likely change it to a secret group. But first, the group needs members. If you are a looking for an editor or are a skilled and talented editor using FCP X with broadcast, film, or corporate experience, please head over to FB and join the groups. We need your support!

The difference between frustration and creativity.

It’s been a busy month and I’m happy to be working on a couple of projects, one corporate and one in news. On the news front, I’m now doing something that I think all editors should take the time to do: have a pre-pro conversation with the D.P. / cameraperson.

I’ve shied way from doing this for any of the news stories I edit since there was always a division between the shooters in the field and post. Also, in the days of tape, there were rarely any questions to ask as everything was shot on digibeta.

As you all know by now, I’m an advocate for merging the two worlds that are production and post-production. I finally put my money where my mouth is.

No matter how much I think I know about cameras and post, I’m always reminded that there are so many codecs, cameras, drives and connectors out there. The pipeline can be a pretty complicated system. What you don’t know is the thing that will add a roadblock to getting your work done.

The best thing that came out of the conversation was realizing that my edit system was not the only important step in the data chain. We also need to consider the system that the producer uses. Knowing that means that they will not shoot at 1080 instead of 4K since the producer’s computer won’t support it. This is just another reminder that we editors need to get outside our suites every once in awhile and talk to the folks in the field.

Considering and determining your workflow before you hit record is the difference between frustration and creativity. I’m now looking forward to the upcoming edit with confidence in what the crew will deliver.

A broadcast commercial workflow that will make you go “Snausages!”

S’nerd (super nerd) that I am, I find this workflow to be really exciting. This method allows you to merge jam-synced second-source audio metadata (logged on-set by the sound recordist) with your video footage. If timecode is properly synchronized between sources, you can sync the sound to the picture AND merge the metadata in under 15 minutes. In this tutorial, I’m also making multiclips from the day’s shoot.

3rd party apps used in this vid, which I highly recommend for use with FCP X:

Intelligent Assistance Sync-N-Link X

X2Pro Audio Convert

Sound Devices Wave Agent (free)

One app I didn’t use in this workflow that I also recommend is Shot Notes X. It’s a really smart new utility that allows you to merge script notes with your shot footage. We tested using Shot Notes in conjunction with Sync N Link at NAB and, I’m happy to say, they all works brilliantly together.

NAB 2014 Post-Wrapup-Diary or “How to Attempt to Become a Greek Demogod”

What a crazy, insane, amazing week I had at NAB. I flew in last Saturday morning. Thanks to Alexis Van Hurkman’s recommendation, I stayed at Treasure Island. While there was no pirate theme in the room (bummer!), the rooms were comfortable and the rate was really affordable. It was perfectly located for my daily walk to the FCPWORKS private demo suite, where I spent the week showing off my work in FCP X.

Once settled, I walked over to the Wynn hotel’s buffet and stuffed my gullet along with Sam Mestman and his dad Steve (hi, Steve!). A few hours later, we were off and running, setting up this slick suite on the 26th floor of the Wynn.

FCPWORKS Suite view at the Wynn

Forty-eight hours, one Quantum SAN and nine Mac Pro/iMac edit stations later, Sam, Darren Roark and I were ready to start demoing.

On Sunday, Scott Simmons from Pro Video Coalition showed up to interview us. Can you tell I was a bit awe struck?

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Color Correcting in FCP X Webinar

It’s been a busy couple of weeks over here at the Garbershop. I finished my video about Mt. Zion Cemetery, which I shot last year. I’ve been working again at Discovery Agency using FCP X. And I have also been cutting two jobs over at my office, a promotional video that I shot for a friend who is a patent attorney and VAM for Showtime.

On top of that, I’ve been scripting and rehearsing my next webinar for Moviola, which will focus on color correction in FCP X. It will be done in four parts. I will explain the color correction capabilities from an editor’s perspective, starting with the basics and working up to some more complicated shots. It’s all very practical, real world stuff. I use footage from actual jobs that I’ve cut over the past few months. No demo trickery here!

I highly recommend checking it out if you have the time. You’ll need to sign up in advance to watch it live on March 3rd. Or you can catch it after the fact, but they charge a small amount for it (which I do get a small percentage of, so please purchase or rent it if you can!).

You can register here:

http://moviola.com/webinars/color-correcting-in-final-cut-pro-x/Hero-Master-1

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