But we looked into their faces suddenly now as blanched and slack slack as if they stared at the devil. Suspended from any public appearances or [illeg.] from any utterances in the name of the Black Muslims, Malcolm X.
Boyce's Cathedral Music (1760-73), Thomas Warren's A Collection of Catches, Canons and Glees (1763-93), and Samuel Arnold's Handel edition (1787-97), to name the most important.
A) Georg Friedric Handel, The Songs in Messiah, an Oratorio ([First edition containing the Overture] London: I Walsh, c. Musicological Society and the latter the editor of that society's journal, the Journal of the American Musicological Society.
Tartini and Dubourga€”see Marc Pincherle, Corelli: His Life and Works, translated from the French by Hubert E. In part I of this post about data wrangling a feature-length documentary, we covered protecting your footage. Here’s an overview of the workflow we used during production to get footage off our cards, stored safely, and organized for retrieval. We stored the media on our Drobo Pro, a raid-like system that protects data in case of a drive failure. The nice thing about using this date format as a prefix to tagging is that your folders will always sort in order.
One of our lavs developed a short halfway through production, and we never discovered the problem until post. Further, I wish we had begun to edit a few sequences together soon after shooting, instead of months later. Prepping for editing in Final Cut Pro X The day we wrapped production was the day Apple shipped Final Cut Pro X.
I initially thought that it made the most sense to create one monolithic Event, and import the entire film into it. So what we ended up doing, which worked very well, was to create an Event structure that mirrored our folder structure almost exactly. Importing and organizing into FCPX is not trivial when you’re talking more than 4 terabytes of footage. It takes quite awhile to generate proxy media, though, so with serious amounts of footage, be prepared for some lengthy transcode times.
After making proxies, our next step, and the most tedious and time-consuming part of our workflow, was audio syncing. The most significant improvement for Final Cut Pro X to add, from my feature-length perspective, would be to make it possible to load an entire film all at once. As a result of this, we spent a stupid amount of time over the life of the project just moving Event and Project folders back and forth between Final Cut Events and Final Cut Events – Hidden folders. It wasn’t until the very end, when I was audio mixing the film, that I discovered Event Manager X, a $5 utility that makes this process relatively effortless by allowing you to create lists of Projects associated with Events. Getting organized inside of Final Cut Pro X With everything imported, audio synced, and proxified, a final step remains: adding metadata.

Our first step is to create smart folders that split our media into types: audio only, video only and sync video.
For our Events, we generally wanted to be working on sync video when we got down to editing, because that was the best sound. You can take this pretty far, but we found that for most Events, we could find everything we needed with just three or four smart folders.
Event structure for sharing Projects between editors As the project took shape over time, we shared Project files back and forth between two editors, my partner Lisa and I. Tagging each part of the shoot with a descriptive keyword gave me a way to instantly find only those clips. Favorites The last step of getting organized might actually be considered the first step of editing: making favorites. To make it possible to find your favorite later, it’s essential to add a text descriptor. If the favorite is extra special, I use a simple notation I learned from Werner Herzog at Rogue Film School.
I had never thought about using multiple events before and locking them in to facilitate sharing. My biggest complaint about PluralEyes is that it creates extraneous project files to accomplish it’s task.
You mentioned that you were going to cover your outputting, so I’m happy to wait for that article, but just thought I’d ask! Regarding project, you will most definitely want to create separate projects, many of them.
The only thing awkward about this process is that some sequences will have music playing between them, or other transitional sound or picture elements. All that advice is definitely still relevant, because the thing the most sets FCPX apart from other NLEs is the strong metadata foundation, which lets you organize your footage better than anything else on the market. We created a new folder for each shoot, which helped immeasurably to quickly find footage later in the project. In practice we tended to copy and move the files offsite at milestones in the project – after a particularly big shoot, about midway, after wrapping, etc. Most often, we would simply skim through footage after a shoot to ensure it was looking OK.
We created a new Event for every shoot, titled YYYY-MM-DD plus two or three descriptive keywords.
It took us about a month and a half of work to get all of our footage moved over from raw storage and organized the way we wanted them in FCPX Events. With Final Cut Pro X, you can be doing other things at the same time, albeit a bit sluggishly. And proxy will give you the ability to open many more than you would with full resolution media. I’ve outlined our audio syncing process and it worked very well, but it added a lot of time to the process.

If we had been on FCPX from the beginning of our film, this process would have been much smoother, because we would have been doing this import > transcode > audio sync process daily, instead of facing it all at once at the end.
Final Cut Pro X provides a two incredibly powerful ways of organizing footage: Smart Folders and Keywords. Smart folders are just standing searches, or filters, that allow you to display everything that matches your query. With a little care about how you structure your project, you’ll be able to avoid the pitfalls and reap the benefits. Today I’ll explain how we organized our footage in preparation for editing in Final Cut Pro X.
And adding two to four keyword tags that succinctly describe the shoot allowed us instantly identify the contents. Luckily, it’s easy to switch back and forth between proxy and full resolution at any time. My partner, Lisa, tends to use them to identify her favorites, and clips that would make good b-roll.
The primary reason for doing this is that it allows you to load only those Events that you need for the given sequence, instead of having to load all the Events in the film, which would likely slow your computer to a crawl. In two cases on our film this would have resulted in us having too many Events open, so we waited to lay in the connecting elements for those two sequences until the final assembly. But I read a fantastic article a couple weeks go that goes into great depth about how to organize your edit in FCPX for a feature doc, written by a filmmaker who is currently in the middle of a huge edit.
I would use the Library container to hold your entire film, and events for each shoot day, or, for particularly huge shoot days, you might break it up further. Then, when you share a Project, you don’t know if there will be missing media when the other editor opens it. I hope you’ll consider adding another installment when it comes time to finishing the film and finalizing the online.
So it will be fascinating to see where this all takes us, and you can be sure I’ll be blogging every significant step we take.
On our big day we broke events up by shooter team, for example (we had 4 teams operating independently of each other and each was treated with its own event).
It requires a lot of cleanup if you like to maintain, as I do, a clean separation between media and projects.
We probably repeated this process a dozen times or so, before we got to the final assembly.

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