Here’s a news story about the XEffects News Graphics plug-in from our good friends over at Idustrial Revolution and FxFactory. You know exactly what these look like because you see them all day long on TV monitors in airports, restaurants, hotel lobbies and in the comfort of your own home. Check out this sample of what News Graphics ($49) can do:
This plugin makes short work of all kinds of ubiquitous news graphics standards including tickers, bugs, DVE, picture in picture and more.
Some specific features:
Six preset color palettes in every template or choose your own
Use any font, any color, any size
Build In & Out animations on templates to choose between cuts & adjustable animations
Many display options and positioning on every template
Shrinkback effect controls all video DVE moves without key-framing
Not locked in to a single template, layer many elements on top of each other
Color shaded background, transition & title wipe included
4K Ready
We came up with this shot in just the first couple of minutes of playing around with the plugin:
You’ll find the Shrinkback effect in the FCPX Effects Browser:
and everything else in the Titles Browser:
Settings are very simple and easy to use:
If you’re doing any sort of project that requires news graphics you want this plugin. I can see it being useful for corporate videos, news shows, online streaming and more. Sure you could make these kinds of things on your own in Motion if you really wanted to…
…. but why waste days of your time when all the hard work has already been done for you. Go grab XEffects News Graphics instead for just $49. There’s also a free trial and tutorials available here: http://www.idustrialrevolution.com/x7-news-graphics
Look out for a few free copies at the October 24th, 2015 edition of FCP eXchange too.
ABOUT THE AUTHOR
FCPWORKS Noah Kadner
This blog post contains the personal musings of FCPWORKS’ Marketing Director, Noah Kadner. Prior to joining the company, Noah spent several years at Apple where he worked with internal Workflow and Editorial teams in support of Final Cut Pro X customers. Noah also directed a feature film available on iTunes called Social Guidance and wrote “RED: The Ultimate Guide to the Revolutionary Camera.” Noah’s ongoing career goal is communicating digital post-production workflows to experts and enthusiasts alike.You can follow him on Facebook or Twitter at @FCPWORKS.
FCPWORKS guest blogger Charlie Austin has addressed a cool workflow need with a new app. And the best part is it’s totally free.
For more details, here’s Charlie in his own words:
A couple weeks ago I released Role-O-Matic, a little app that, using FCPXML, allows you to batch assign audio Roles and Subroles and rename the components to match with lots of multichannel files. I cut trailers, and pretty much all my source files consist of 5-6 reels of picture with split DME audio, so 3-4 channels or more. Some of you may have multichannel audio files from production sound recording, it’s a pretty common thing.
And, as you know, the only way to set Roles on individual components (Dialogue/Efffects/Filled Effects/Music etc,) is to open each clip in a timeline one after the other and set the Roles on each component. Not bad with a couple files, drudgery with 5, 6, a dozen or more. I figured there had to be an easier way.
After a little more thought and fcpxml treasure hunting, I could see exactly what needed to be done. There was just one, little problem. I had no idea how to do it. Fortunately I found someone who *did* know how to do it, (Thanks Hiroto!) and with a little tweaking and fumbling on my part, Role-O-Matic was unleashed. Here’s how it works…
You create an Event in FCP X containing all the clips to which you’d like to assign common Roles. You can mix audio and video files, as well as files with differing numbers of channels, so It’s pretty versatile. the only thing to remember is the “common” part. If you’d like to assign Roles A,B,C,D etc, CH1 in every file will get Role A, CH2 in every file will get Role B, 3 gets C.. you get the picture. You need to do a little simple prep beforehand, (details in the instructions of course) but it’s super easy.
After your Event is set, export xml, and launch Role-O-Matic. Open the file you just exported and tell the app where to save the new one it will create. Role-O-Matic will then prompt you to enter Roles and Subroles for video clips first, then audio clips. You’ll have an opportunity to confirm what you’ve entered and redo it if needed.
It will then set all the Roles, rename the components to match the Roles, and create your new fcpxml. Import that into FCP X and you have a new event, with all your clips Roles set and nicely renamed. If your clips have existing custom names, you’ll get an additional prompt asking if you’d like to change them, or leave them as is. Easy, and an enormous time-saver.
If you need to work with a lot of multichannel audio, I think you’ll like it. The only limitation is that it can’t set Roles or rename the components of interleaved files. Stereo pairs, 5.1 surround files etc. Anything where FCP X sees the file as a single component in a timeline. You can set the Role on the component, but not it’s contents. Once again, I can see what probably needs to be done to be able to do this but, uh… don’t hold your breath. Much more exciting detail is in the Manual,which you really should read. Give it a try!, It is free after all. If you’re bored, here is a little 7 minute tutorial/demo, in my trademark rambling semi coherent style:
ABOUT THE AUTHOR
Charlie Austin.
This blog post contains the personal musings of Guest Blogger Charlie Austin. Charlie Austin is a fancy, award-winning editor. He began editing with Media Composer, has worked in FCP Classic, FCP X, Premiere, and has dabbled in Resolve, Lightworks, and Hit Film. He likes FCP X best of all. Over the course of his career he has worked as a professional musician, a post production mixer, and worn a variety of hats in film, TV, and live production.
He currently cuts trailers and other advertising for the talking pictures in Hollywood. You can read his blog over at fcpxpert.net
Mostly as a public service announcement to those of you running MXF workflows with FCPX 10.1.4 and above:
If after installing Pro Video Formats, MXF clips appear to only be 30 seconds long, it may be due to a conflict with the demo version of Calibrated{Q} MXF Import. To solve this:
Quit Final Cut Pro.
In Finder, go to /Library/QuickTime and trash the Calibrated{Q} MXF Import component.
Launch Final Cut Pro, and reimport any clips that were previously only 30 seconds long.
From there, things should start running smoothly. Stay tuned on this blog. We’ve got more Secret Sauce vids and NAB 2015 preso announcements coming soon!
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
So… as the neverending plugin machine continues to churn for FCPX… fewer and fewer of these plugin sets have a specific use case, I’m finding. I really wish more of them did.
However, if you’re an editor that needs a quick, professional looking, highly customizable template for a corporate video/podcast intro/interstitial, especially if it’s tech/science based, GraphiText is probably the one you should check out first. Have a peek at this preview and you’ll see what I mean:
Bottom line is that these are designed to be for transition graphics… and if any of the 7 templates have the right feel for what you want, you buy the plugin package and have a reusable, high end graphic that you can customize around your own branding (it has dropzones and highly customizable text). If you’re a one man band, plugins like these make you look good to clients.
In general, I think this kind of plugin package is a great example of what Motion should be used for… and what more plugin developers should be building for editors – which is highly customizable effects/templates/transitions/titles that would be nearly impossible (or not worth the time spent) for the average person to learn how to make… and are extremely easy to integrate with the average edit.
I’m happy to spend a small amount of money on a plugin package I know I’m going to reuse constantly… and while I’m good with Motion… probably a solid B… I’m certainly couldn’t make the kind of stuff Luca does.
GraphiText is available from FxFactory (In my opinion, easily the best way to buy and manage plugins for FCPX) or from the Luca Visual FX site here.
Lastly, in case anyone was wondering… I did receive a review copy for the plugins… but I also only review the ones I like. I like these… as I do most of Luca’s other stuff, which you can find here or on FxFactory. If you want to know my favorites from his other bundles… the Lo-fi look, Film Leaders, Sprocket Slip, and Grunge Effects, are some of my consistent go-to’s.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
Sam here…. It’s starting to dawn on me what professional subconsciously means to a lot of people in the post-production world.
It means, “overly-complicated thing that is so confusing that the average person can’t use it. And the people who do know how to use it never need to explain why things with the particular product don’t work the way they should.”
When I look at at some of the software out there that’s considered highly professional I notice some common themes. User documentation tends to be inaccurate, not covered, or completely wrong… and yet the veteran users often say how much better it’s gotten.
Getting up and running with many of these products is often extremely difficult… almost like it was designed to keep people away from the interface and features. Basic functionality that you would expect from any piece of free consumer software can be touted as a “new innovation” that still often doesn’t work as expected (or without knowing which submenu or preference you need to have memorized).
The bottom line is that because many of these applications are so specialized and expensive, it becomes an excuse to explain away the entire product’s MASSIVE design and implementation flaws. Essentially, the attitude becomes “well, this is the most professional and expensive thing there is… if you don’t get it, you probably shouldn’t be doing this sort of work.”
My own recent experiences with some of these tools made me think a lot about whether the fact that I tend to use a lot of Apple products in my day to day has made me less capable, or whether Apple’s simplistic design has simply made my threshold for unnecessary complexity far lower than it used to be.
At the end of the day, my definition of professional is finding the most efficient, practical way to get from point A to B without having to sacrifice quality.
What I’m finding more and more in the post production world, though, is that a lot of professionals hide behind their apps’ complexity as a way of keeping their lack of actual working knowledge hidden and preserving their rates.
For most people, all professional really means is “have you created a system that the average person can’t use so that you can charge more money for this complicated, specialized product?”
I’m pretty sure the average colorist getting $650 an hour is not happy about Resolve Lite going free. Especially when the same exact application used to be much harder to use and part of a million dollar hardware package. And that was just a handful of years ago.
A real professional should be looking at the traditional production pyramid of cheap, fast, good (pick two) and doing their best to find ways to deliver all three in as painless a way as possible to their clients. That’s real value, and real professionals know that the faster you can do the same job (at an equal quality) as someone else, the more money you can make from that job.
Delivering at that level of cheap, fast, and good would mean that you would want your tools to be as simple and easy as possible so that you can get done what you need to get done without the tools getting in the way… and so you don’t need to constantly apologize for poorly executed design choices while you work.
The general idea is that developers should design for simplicity and ease of use and with the end user in mind… very few people besides Apple do that. Give a 4 year old a Blackberry instead of an iPad and you’ll see exactly what I mean. And yet somehow they get slammed for applying that philosophy across the board to their professional applications.
At the end of the day, I’m just a little surprised that in order to be considered professional you have to have something that only a subset of people can figure out… when the truth is that the only thing that matters when it comes to being professional is the end product.
I wish more professional products followed that philosophy. We’d all be able to get more work done.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
Version 10.1.4 of FCPX hit yesterday… and from what I can tell the general reaction was a mixture of disappointment/sadness/impatience… due to its not having perceptibly new tentpole features (and so close to Christmas too). Except for FCPX users that work in the Broadcast world, who I think all simultaneously pumped their fists. I think it’s a worthwhile maintenance update with the critical addition of native import/playback/export of the MXF format for higher profile clients.
MXF is a file format or container that for a very large segment of broadcasters is critical to workflow. As in, without it being supported directly there’s no uptake of FCPX, period. So even if you’re not using FCPX yourself, its complete inclusion in FCPX is a sure sign that Apple intends this application to be used in professional broadcast environments.
All this MXF goodness is likely a result of acquiring the good folks over at Hamburg Pro Media, which closed up shop mysteriously last summer. This used to be an expensive plugin that barred many broadcasters from getting into FCPX as a platform. Now it’s just a no-brainer and it means if you’re looking at the value proposition of learning FCPX as a platform for getting jobs in the broadcast market, your vista just got a whole lot wider. More on that here and here.
Now if you’re not one of these broadcast clients… guys, seriously, this is not the end of the world and it does not mean Apple has stopped caring about you and is going to stop innovating with this app.
As a person who has been lucky enough to peak behind the curtain and see how the sausage gets made, and has met the people on the FCPX team, and considers a lot of them friends… THOSE GUYS CARE. They are listening to you. They have not abandoned you.
The thing that was most difficult to me when I did my first stint and met the FCPX team for the first time was simply that I didn’t know how software development worked. Just because you want a particular feature doesn’t mean that it’s easy to implement… and just because you want a particular feature that used to be in another application (FCP7), it doesn’t mean that’s the way that feature should implemented moving forward.
The biggest thing I learned from working with those guys is that I didn’t even know what I didn’t know… and that things take time… and that the software was in good hands. The bottom line is this… if there’s something you really want to see implemented in FCPX, use the feedback form in the app and let Apple know. I know for a fact that they read those. If you think yesterday’s release was FCPX in its final form… you’re crazy. We’re going to have a special upcoming insider’s blog on how to give better feedback to Apple soon.
If you want my opinion… I think the FCPX team is just getting started and yesterday’s update was just a few bug fixes and some major fixes they knew they could address and deliver safely to certain customers while they’re busy working on bigger things. These are not educated guesses, these are knowing how the process goes.
So… all I can say to the FCPX users back home who are not happy about the lack of major new features in the latest update – keep calm, keep editing, and use the software in its current implementation… we’ll all be able to look back a few years from now and simply laugh about all the drama this kinda stuff caused.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
Here’s some stuff you should know about how to get the most out of X2Pro, whether you’re going to Logic or Pro Tools:
– Export your XML from FCPX after doing as much role tagging with your components as possible (see part 4), and then import this into X2Pro.
– Set the Destination where you want your AAF to be saved (if you’re not referencing media, expect a large file, especially if you’re doing long handles).
– If you want all of your audio directly embedded into your AAF (likely if you’re delivering to a sound designer), you’ll want to make sure Trim Embedded audio is turned on or you’re going to have a massive sized AAF. If you want your AAF to reference your original audio files, leave “reference WAV files in place” checked, and when you get to Logic, your audio will be referencing the same files it was in FCPX.
Ordering your Roles in your AAF:
When you hit the “Roles” button, all of the roles from your XML are going to pop out to the left. These will reflect the order that you’ll see them in Logic. To change the order, select the role you move and use the up/down arrows to change where it appears in your track stack.
X2Pro Preferences:
General Tab – General rule of thumb is that you keep your transitions, but don’t really expect them to be 100% accurate. I discard my disabled clips, and I’ll convert my audio to PCM audio, usually at 16/24 bit (you need to do this because most DAW’swon’t read .mp3 or AAC audio unless it has been converted… also, expect Logic to convert this audio to the project’s sample rate when you import your AAF).
Media Handling: I’ll generally set this to 20 seconds (or whatever my sound designer wants)… and I’ll typically not “reference multi-channel WAV files” as that isn’t supported in Pro Tools anyway. Also, the next one is a big one… You’re going to want to keep “embed media, optionally trimming” turned on… otherwise, expect a bunch of unexplained errors that will drive you crazy… basically, this option ensure that if there are any problem clips, they’ll just get embedded into the AAF with handles.
Roles: I can’t think of a good reason why you wouldn’t want to keep your roles on separate tracks if you bothered to take the time to tag them in the first place.
Media Locations: Because of App Store sandboxing, this is necessary… X2Pro can’t just search your computer for files unless you give it permission. If you’ve used the consolidate feature in FCPX, the good news is that you’ll only have to put one directory there. Also, X2Pro will scan your XML and tell you the folders that you need to give it access to. You don’t have to give it access to each individual folder either. Rule of thumb is to give it access to a folder early in the tree (or a hard drive), and then X2Pro can do the digging to all the subfolders on its own.
Anyway… that’s a general overview of how to make X2Pro work for you… and whether you’re creating AAF’s for yourself, or for a sound designer, if you understand how all of the above works, sound turnover should be pretty painless.
Here’s a link to past blogs in case you missed them:
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
I’d update a few things since it was made (like the fact that fade handles on disabled ranges have since been added), but it does give you a pretty good sense of what you can do with components.
Now, the reason I bring this up is that if you’re dealing with multi channel audio files in FCPX, and you want to get to Logic correctly, you better tag your components with sub roles. Basically, if you tag your audio components correctly, you’re going to get AAF’s coming into Logic/Pro Tools that will likely make your Sound Designer/yourself get teary eyed over how beautifully organized they are.
Like most other things in FCPX, the more prep you do ahead of time, the less work you’re going to have to do later, and the more automated everything is going to be as you move through your edit.
For instance, if your production sound person labels his mic channels correctly (or you name them in an app like Wave Agent), and then you use Sync N Link from Intelligent Assistance to sync your clips, your audio will automatically come into FCPX correctly synced with Sub Roles attached to your individual components already in place.
From there, you can move through your edit, roles easily selectable at every turn, and you don’t need to worry about any of this stuff when it comes time to make your AAF or export your roles as quicktimes/AIFF’s later.
In the event you don’t do this (and I know most of you won’t), here are a few tips to still get to the finish line with your roles correctly laid out in your DAW:
1. If you want your Roles correctly tagged as you edit them into the timeline, and you don’t want to deal with the below (this will be far more efficient if you have an assistant editor helping you prep):
– Go into the the info tab of the inspector, and from the roles dropdown, select “Edit Roles”
– Add in the sub roles for characters/mic types that you want to be able to send out to Logic (you may need to add these gradually). Make sure you do this under the Audio Roles (not video)… and probably your best bet is to do it as a dialogue subrole.
– If your audio components are not already labeled correctly in the inspector based on mic/character (you production sound person didn’t do this), label these now. An easy way to figure out what’s what is to use the sound report your sound guy gave you (if they did that), or simply hover over each component from a character in the audio inspector and play back to figure out what mic is what. You can group label components across multiple takes that were recorded in the same way by shift selecting them and then re-labeling the component name in the audio inspector.
– When you import your audio into FCPX, before syncing or placing your audio into your multicams, open your each audio file into it’s own timeline using the “Open in Timeline” Command, select each of that file’s individual audio components, and tag them with a Sub Role. You’ll know how to tag them because you just labeled all of your components correctly.
FYI, this will be time consuming and may not be worth the effort if you’re a one man band and don’t have an assistant. However, if you do take the time up front, You’re going to save a TON of time on the back end, especially if you are working on a large project that will be going to the a DAW in multiple incarnations using Change List Software like Change List X. What I described above is really for long form/collaborative workflows.
If you’re working on something quick and dirty with a tighter turnaround, you’ll want to do the following:
2. If you don’t care about Roles until it’s time to go to Logic/Pro Tools, do the following:
– Make sure clip skimming is turned on (cmd-option-S)
– Go into the the info tab of the inspector, and from the roles dropdown, select “Edit Roles”
– Add in the sub roles for characters/mic types that you want to be able to send out to Logic (you may need to add these gradually). Make sure you do this under the Audio Roles (not video)… and probably your best bet is to do it as a dialogue subrole.
– Select all your video clips that have dialogue in them (quick way to do this is search your timeline index with “dialogue” then select all the clips that come up) and expand their audio components (ctrl-option-S)
– Shift select across similar components, and then from the info tab of the inspector in the role dropdown, tag them with their correct sub role.
– Do this for all components you want grouped in your DAW, and check your work by going into the Timeline index, in the roles tab, and quickly select each of your different subroles to make sure your components are correctly tagged (they’ll light up when you click on the name of a role)
BTW, Apple, if you’re out there reading this… a big feature request for me would be making it easier to tag audio components with roles, modify roles easier… and in general, make this awesome concept you’ve create just a bit easier for working editors to implement into more complex workflows.
Anyway… in the next blog, we’re going to dive into how to send some of this stuff out to X2Pro/DAW once it’s correctly tagged…
Here’s a link to past blogs in case you missed them:
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
So… If you’ve tried to just get into Logic quickly with an FCPX XML, you’ve probably had some problems. I know I did initially. The main reason you’re probably having those problems is that there’s one little box dropdown you need to hit while you’re exporting your XML in order to make things lay out in Logic correctly.
You need to set your metadata view on XML export to “Audio”.
If you do that, you’re going to get a MUCH cleaner XML import into Logic Pro X.
Your primary audio roles should come in as tracks (e.g – Dialogue, music, effects, ambience), and you won’t have the sync issues that you would likely face if the metadata view was set as something else.
However, from what I can tell, your sub roles will not be respected getting over to Logic. Also, I’ve had some experience with some patching/playback issues on some some of my dialogue that’s coming in… in addition, I would love to see EQ and compression that I’ve applied to my clips be applied to the tracks on XML import.
Currently, the best way to get to Logic is to manage your components and roles correctly (ideally from the very beginning), and then build a beautiful looking AAF using X2Pro or even bring in mixed down versions of your roles as tracks in Logic using the Share menu.
At the end of the day, the better your role management is, the better your Logic workflow is going to be, and we’re going to dive into best practices for Role management in the next part in this series.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
Here we go with part two of our series on using Logic Pro X for sound design with Final Cut Pro X. There are a million tutorials out there to choose from. Here are the ones I went with (if you have no idea where to get started):
There’s a lot of them there (many of which can be found on the Mac App Store)… but if you want to know what some essentials to get you started, I’d go in this order:
Logic Pro X 101: Core Training
Logic Pro X 102: Signal Flow
Logic Pro X 103: Audio Recording and Editing
Logic Pro X 105: Mixing and Automation
Start with those and broaden out based on your interests from there. These particular four are all on the App Store at about 20 dollars each. Core Training gives a nice basic overview of what what the basic Logic process is.
The Signal Flow course is a bit dry but completely essential to understanding the methodology behind everything else you do in Logic and how it all works. Audio Recording and Editing is probably most important as it goes through how to get around in the timeline and approach actual sound editing in Logic.
Mixing is pretty self explanatory but probably won’t make much sense to you without having a solid foundation in the other topics. Don’t start with this one unless you’re sure you know what you’re doing.
One thing to keep in mind as you go through these tutorials… you might be a bit put off by the fact that all of these tutorials are about Music creation and not sound design for picture. This is all true. Logic is designed to be the go-to app for musicians, and that makes up a MUCH larger segment of the sound world.
The good news is that everything you’ll see on the music creation side is largely applicable to the sound design side as well, and if you put enough time in, you might actually figure out how to score your movie too (or at least point your composer in the right direction).
It’s a time commitment but one that is very much worth the hassle. And as far as how you should go about mixing and get your projects to and from FCPX… well, that’s what the rest of this series is going to be about. Stay tuned.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
