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Re: Exporting Files Needed for Sequence June 06, 2012 10:26AM |
Are you gathering the actual clip files used in editing, or are you just making versions for the FX department -- versions which don't need to reconnect to the original online-edit media? (I'm assuming if you're the one giving them the raw materials used in the FX, then you're working with online-quality media.)
If the former, then you should start a new Sequence, put the necessary edits into it, and then use Media Manager to copy the files to the new location. Make sure you're not wiping out the originals (that's Move, not Copy), and make sure you're not trimming the clips unless you intend to. Media Manager can modify your files permanently and screw up your edit if you don't use it right.
If the latter, then drop the clips into a Sequence and use Export - QuickTime Movie.
Yeah, a manual won't help you here. This is operations detail. You might want to find a good assistant editor.
www.derekmok.com
If the former, then you should start a new Sequence, put the necessary edits into it, and then use Media Manager to copy the files to the new location. Make sure you're not wiping out the originals (that's Move, not Copy), and make sure you're not trimming the clips unless you intend to. Media Manager can modify your files permanently and screw up your edit if you don't use it right.
If the latter, then drop the clips into a Sequence and use Export - QuickTime Movie.
Yeah, a manual won't help you here. This is operations detail. You might want to find a good assistant editor.
www.derekmok.com
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Re: Exporting Files Needed for Sequence June 06, 2012 11:14AM |
> What the producer wishes to do is "farm out" the visual effects to another person.
> I have pulled all the visual effects sequences and placed them on their own time line.
Yeah, because you're not familiar with specifics of FCP operation, you kind of missed the point. I'll try to elaborate.
When you captured the clips for editing (from tape, or ingested from tapeless sources), you created files. For example, let's say the shot on which you want the effect is 04-01-08. That clip was probably logged from the slate all the way to until the next shot begins on your dailies, and it has timecode, generated in the camera, which is crucial to your editing work and any future post-production work.
When you gather it for the FX artist, are you trying to give him the whole shot as captured/ingested -- the entire take of 04-01-08? Does it need to be called 04-01-08? Does it need to have matching timecode to the clip you're actually using for the edit?
Or are you trying to shorten 04-01-08 to only the parts used in the edit? This would mean more economy and less chances of mistakes by the FX artist, but it also means if the edit changes, you may have to redo this work all over. Giving the FX artist the whole shot allows him to have access to it at any time.
If the FX artist's raw materials don't need to match the timecode of your editing clip, then you can simply export from the new timeline. But if you're not sure, it's best to just give him the whole clip, and then use In/Out timecodes (and reference movie files of your edit, probably with timecode burn-in) to guide the FX artist to which part of the clip is supposed to be used.
The method of re-exporting is more common if your project is simple -- for example, a 30-second commercial that needs FX on a few shots and will be completed in a week. In those cases, it's just faster to re-export the clip from a new timeline (giving up the original timecode in the process).
www.derekmok.com
> I have pulled all the visual effects sequences and placed them on their own time line.
Yeah, because you're not familiar with specifics of FCP operation, you kind of missed the point. I'll try to elaborate.
When you captured the clips for editing (from tape, or ingested from tapeless sources), you created files. For example, let's say the shot on which you want the effect is 04-01-08. That clip was probably logged from the slate all the way to until the next shot begins on your dailies, and it has timecode, generated in the camera, which is crucial to your editing work and any future post-production work.
When you gather it for the FX artist, are you trying to give him the whole shot as captured/ingested -- the entire take of 04-01-08? Does it need to be called 04-01-08? Does it need to have matching timecode to the clip you're actually using for the edit?
Or are you trying to shorten 04-01-08 to only the parts used in the edit? This would mean more economy and less chances of mistakes by the FX artist, but it also means if the edit changes, you may have to redo this work all over. Giving the FX artist the whole shot allows him to have access to it at any time.
If the FX artist's raw materials don't need to match the timecode of your editing clip, then you can simply export from the new timeline. But if you're not sure, it's best to just give him the whole clip, and then use In/Out timecodes (and reference movie files of your edit, probably with timecode burn-in) to guide the FX artist to which part of the clip is supposed to be used.
The method of re-exporting is more common if your project is simple -- for example, a 30-second commercial that needs FX on a few shots and will be completed in a week. In those cases, it's just faster to re-export the clip from a new timeline (giving up the original timecode in the process).
www.derekmok.com
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Re: Exporting Files Needed for Sequence June 06, 2012 05:43PM |
What are they doing VFX on? Flame? Smoke? What is your source footage? RED? Arri?
www.strypesinpost.com
www.strypesinpost.com
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Re: Exporting Files Needed for Sequence June 07, 2012 05:07PM |
Communication with the FX artist(s) is certainly helpful, but what it won't help you with is how to organize your editing materials to optimize your role in the process. You're in assistant-editor territory.
Important note: You must always know what exactly you gave the FX artist, the specs of all media, what you called it, and how you might re-create that media if you need to. Because FX artists can lose files, they can become corrupt, or anything else. So I recommend that you create specific Sequences that contain only those elements you're giving out. It's a good way to organize how you're parsing out the footage. I even add version numbers and dates to those Sequences so that if the FX artist tells me, "That file you gave me -- FX Export 01 Waterski 060712 -- went missing", I would usually have a Sequence that corresponds to that exported clip name, and so I just fly to that same Sequence in my project file again, re-export, and work goes on without a hitch.
In my experience, FX artists who don't do editing are usually very sloppy with their file management. And it's not surprising. They're dealing with one aspect of post-production. One FX artist could be taking care of one shot (or one type of shot). So I get files called "Titanic v01" a lot. It's not a good idea to change the file name completely because you often have to communicate with the FX artist who created the file, and you need to know what he originally called it. But their management system is insufficient for the editorial department, where you're dealing with thousands of files from 15 sources. So I've developed a habit for renaming files I get.
If the FX artist gives me something inane like:
"FX clip v1"
That's not enough to identify the clip, nor distinguish it for the other 20 shots that need FX and are coming from other artists. So I might change it to something like:
"04-02-01 FX Clip v01 060712"
What you use depends on what information you need.
www.derekmok.com
Important note: You must always know what exactly you gave the FX artist, the specs of all media, what you called it, and how you might re-create that media if you need to. Because FX artists can lose files, they can become corrupt, or anything else. So I recommend that you create specific Sequences that contain only those elements you're giving out. It's a good way to organize how you're parsing out the footage. I even add version numbers and dates to those Sequences so that if the FX artist tells me, "That file you gave me -- FX Export 01 Waterski 060712 -- went missing", I would usually have a Sequence that corresponds to that exported clip name, and so I just fly to that same Sequence in my project file again, re-export, and work goes on without a hitch.
In my experience, FX artists who don't do editing are usually very sloppy with their file management. And it's not surprising. They're dealing with one aspect of post-production. One FX artist could be taking care of one shot (or one type of shot). So I get files called "Titanic v01" a lot. It's not a good idea to change the file name completely because you often have to communicate with the FX artist who created the file, and you need to know what he originally called it. But their management system is insufficient for the editorial department, where you're dealing with thousands of files from 15 sources. So I've developed a habit for renaming files I get.
If the FX artist gives me something inane like:
"FX clip v1"
That's not enough to identify the clip, nor distinguish it for the other 20 shots that need FX and are coming from other artists. So I might change it to something like:
"04-02-01 FX Clip v01 060712"
What you use depends on what information you need.
www.derekmok.com
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Re: Exporting Files Needed for Sequence June 07, 2012 05:24PM |
Entering their crappy names in to custom columns, then renaming it to what you like and then printing the bin to paper/PDF is another way of tracking that mess. Custom columns are also good for Date sent, Date Resent etc
I like emailing the resulting bin PDF to the FX op with a note, oh so cheerily worded,
ak
Sleeplings, AWAKE!
I like emailing the resulting bin PDF to the FX op with a note, oh so cheerily worded,
Quote
Hey Doodles,
FYI: Here's a bin representing the clip you sent me and the 50 other clips I got yesterday from the other 2 FX houses and the name(s) you gave it and the name I gave it. Just in case you need to ask for the plate again, like you did last week when your USB drive died and you hadn't backed up your copy of the plate.
Peace, Out.
The Editrona.k.a. Your mom
ak
Sleeplings, AWAKE!
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