Some days I was able to cut 10 or even 15 minutes of the film, other days I didn’t get through much at all. Ultimately, that’s almost exactly how it played out. I figured the assembly cut would be roughly 90 minutes, and at that pace I’d have a cut in 3 weeks or so, even factoring in a few days off. While in this phase, I gave myself a target of 5 minutes to be edited per day, which typically yielded 2 completed scenes. This equated to roughly 30 – 45 minutes of footage review for each scene.Īfter reviewing each clip for a given scene, I would drop my selects straight into the timeline and start building out my edit – one scene at a time until the very end.
I tend to shoot very little coverage on set, so there’s not a massive amount of raw footage to sift through as I build out the edit.Īn average scene I shoot might have 3 – 4 takes from two angles, meaning I may only need to review 8 takes total while cutting any given scene. I’m not aiming for perfection, simply a literal and technical representation of what I’ve captured – All the footage laid out on the timeline in order. The goal with this pass is simply to see the shape of the material before you really add any artistry to it.Īgain, at this stage speed is very much my friend. Like most filmmakers, I like to start with a traditional assembly that includes every line of dialogue in every scene in the movie. The rest of the process however, took much longer 🙂 Granted, much of this work has to be done AFTER the picture is locked, but I try to do as much as I can even in the early stages.Īll in, it only took 2 – 3 hours to set up this master project file (library), which really is nothing for a feature film.
#CREATE A NEW TIMELIME SEQUENCE FCPX DOWNLOAD#
If I need to stop every five minutes to search for a music track or download a sound effect, I’ll never get anything done.
#CREATE A NEW TIMELIME SEQUENCE FCPX FULL#
Once I get rolling with an edit, I want to work in an environment that allows me to work at full speed. Once that process was done I moved all the synchronized files into a folder labelled “SCENES” and was effectively ready to start editing.īefore starting though, I took some time to import a bunch of temp music, sound effects, and sound design elements into the project as well. It took no time to get all the clips sync’d up. This is how the clips looked when organized (automatically by timecode) in the browser – So again, this made things really easy in post. We used an Ambient Lockit device on set to sync the timecode of the Alexa camera with the Sound Devices mixer. To sync the clips, all I had to do was select my two keyword collections (sound & footage), organize the browser by timecode, and select each pair of clips to automatically be sync’d.
In FCP X, I simply imported all of the raw video clips and audio clips into an event called “FOOTAGE & SOUND”. I like to work quickly and off of instinct, and working with small, manageable files (without having to deal with a proxy workflow) does that for me. And from a creative perspective, anything that speeds me up in post is a good thing. While my system is capable of cutting RAW footage shot in much higher resolution (6K, 8K, etc.), it’s never as fast as ProRes, especially in 2K. Notably, I chose to shoot the film in ProRes 422HQ in 2K resolution on my Arri Alexa Classic 4:3. Knowing that I would edit the film myself (without an assistant editor) I made some choices in production that would save me a lot of time.
Way back on December 15th, 2018 – roughly two weeks after we wrapped production – I stepped into FCP X for the first time to ingest all the material and set up the project. So let’s jump in and start at the beginning: For the purpose of this article though, I want to outline the HOW, and explore each phase of the pipeline in some detail. I’ve already outlined my thoughts on FCP X and WHY I decided to use it on this project in this blog post. What I believe was unique about my process, was that I used FCP X almost exclusively throughout the entirety of post. As a follow up, today I want to share a written account of my entire post-production workflow from end to end. I recently published a detailed article all about the process of producing my feature film PSYCHOSYNTHESIS for just $25K.
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