Big thinkers are VERY entertaining to me. People that don’t just think “outside the box” but take the box and shred it up into little pieces and them stomp all over it. Peter Wiggins of fcp.co is one of those thinkers and we are very honored to get an hour of his time to discuss FCPX with him. Peter is an extremely knowledgeable guy and has been a real champion for FCPX in the community. I think you’ll love this interview.

Sponsored by

premiumbeat.com

fxfactory.com

Chris Fenwick – chrisfenwick.com – @chrisfenwick

Peter Wiggins – @FCPdotCO

 

Aspiring to be a novice. The one man band. Writer, Director, Shooter, Audio, Talent Coordinator and Editor… Bill Rolland does it all with amazing proficiency and turns out a great product for major Bay Area firms you HAVE heard of. In todays episode we learn about how he approaches a job and why he decided to move to FCPX from Final Cut 7.

Sponsored by:

premiumbeat.com

fx.factory.com

Chris Fenwick – chrisfenwick.com – @chrisfenwick

Bill Rolland – www.billrolland.com

 

Many people change from FCP 7 to FCPX but very few do it in the middle of a project. Sam Russell is a college student in Ithaca New York and over the summer he produced “Mississippi Crayfish”, an experimental student film about… well… you need to watch it. Mid stream, Sam decided to switch to FCPX. Today we’ll take a long look at his decisions and see what motivated him. We’ll also hear from the audience via voicemail and discuss Motion vs. After Effects.

Sponsored by premiumbeat.com

Chris Fenwick – chrisfenwick.com – @chrisfenwick

Sam Russell – @Samm_The_Human

Mentioned on Show

Mississippi Crayfish

 

Not sure how to set up YOUR system. Wondering how to fine tune your workflow? Doug Orr of Tulsa Oklahoma isn’t either but thats OK, (see what I did there?). There are many ways to organize and store your data and your media and FCPX in a post 10.1.2 era can work in many different ways that allow you to choose how to store you files. Doug talks about using Keywords & Smart Collections, Events, Libraries and even the Finder. This episode goes thru all the various scenarios of organization.

Sponsored by:

premiumbeat.com

fxfactory.com

Chris Fenwick – chrisfenwick.com – @chrisfenwick

Doug Orr

Viewer Questions & Color grading for dummies? Not exactly. On this special episode of The Grill, Alex MacLean, from digitalCINEMAcafe drops by the studio and we have a casual chat about Color grading practices, Alpha channels and the Tilde key, and we listen to YOUR voice mail messages that have been left for us on the digitalCINEMAcafe.com website.

Sponsored by premiumbeat.com

Chris Fenwick – chrisfenwick.com – @chrisfenwick

Alex MacLean – @alexm13

 

On this “special” episode of The Grill, Richard Taylor of FCPX.tv takes over the hosting duties to talk with Chris at length. You’ll hear about Chris’ work and some workflow strategies as well as some advanced tips previously shared on the Pixel Corp Virtual User Group. Chris talks at length about audio theory and how it relates to all video editors, not just FCPX users.

Sponsored by:

fxfactory.com

premiumbeat.com

Chris Fenwick – chrisfenwick.com – @chrisfenwick

Richard Taylor – @richardtaylortv

Why is Avid entrenched in reality television? In the interest of  being fair and hearing both sides of every story, I invited Austin Flack to explain from the view point of a hollywood based reality TV editor why he thinks Avid will not soon be replaced as the editor of choice.

We talk a lot about the role of an Assistant Editor and what he means to a television editor. Chris gets fired up about cutting music at the subframe level and w e go deep into the trim controls in Avid verses FCPX and Chris probably alienates a LOT of editors with one of his statements.

This is a VERY interesting show but definitely checkout some of the links in the show notes.

Sponsored by premiumbeat.com

Chris Fenwick – chrisfenwick.com – @chrisfenwick

Austin Flack – @austinflack

Mentioned on Show

MTV Catfish

Avid Isis

Avid Dynamic Trimming

Austin Showing Dynamic Trimming in Media Composer

FCPX Dynamic Trimming with Chadwick Shoultz

Avid Script Sync

Avid Phrase Find

Pegasus R6

FCPX Virtual User Group 2

What if 24 hours after wrap of principal photography you could have a rough “editors cut” completed of a major hollywod motion picture?  Gergana Angelova was able to do just that with the help of FCPX and Shot Notes X. The film, Septembers of Shiraz, featured Adrian Brody and Selma Hayek and was shot at Millennium’s Nu Boyana Studio in Bulgaria this summer. Her edit was an experiment to see how well it worked and how how much time the process would take. She Also talks about the process she went thru in cutting the Behind the Scenes DVD material for Expendables 3.

Sponsored by:

premiumbeat.com

fxfactory.com

Chris Fenwick – chrisfenwick.com – @chrisfenwick

Mentioned in Episode

Shot Notes X

Timelapse of Editing NBC’s “Chuck” – Starring: Matt Barber and Scott Pellet

Gergana on FCP.co

Internal video departments have their own very interesting problems. Adam Peariso is a director of photography with a photographic background who travels to locations that are destinations of West Jet airlines. Although the editors in the department mostly use Premiere Adam prefers FCPX in the projects he cuts himself and we talk about why. We also go into a rather lengthy discussion about growing up in a family of aviators.

Sponsored by:

premiumbeat.com

fxfactory.com

Chris Fenwick – chrisfenwick.com – @chrisfenwick

Adam Peariso – @adamski

A great log will make your edit smoother. The problem is, no one ever bothers logging footage in the field anymore. Philip Hodgetts has been on a quest for decades to create the perfect logging tool and he finally thinks he’s got it. On this episode we are going to dig deep into Lumberjack

Sponsored by premiumbeat.com

Chris Fenwick – chrisfenwick.com – @chrisfenwick

Philip Hodgetts – @philiphodgetts