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10.06 On Apple’s Website Now
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[Oliver Peters] “And BTW – embedded Reel numbers are read.”
Oops. Still not those embedded in QT files, like Alexa media.”
You have got to be kidding me! Apple’s reads Reel in Red R3D but they couldn’t be bothered to read it in their own GD file!
That’s just rubbing salt in the wound!
John
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I can’t even really talk about it anymore.
They are there, you should be overjoyed!
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[Jeremy Garchow] “They are there, you should be overjoyed!”
I am!
Can I have tracks now? 🙂
_______________________
David Lawrence
art~media~design~research
propaganda.com
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twitter.com/dhl -
[Bill Davis] “Sorta reminds me of back during Legacy V1. In FCP’s very first version, JKL transport controls weren’t supported. I got used to doing timeline transport using the non-standard keys – then had to take a couple of weeks to re-train myself when they finally implemented JKL to accommodate the AVID folks.
Kinda the same deal here, I think.”
From a UI design perspective, there’s actually a subtle but important difference.
In the case of Legacy’s transport, you could use other keys to accomplish the exact same result.
In the case of PIOPs, that functionality simply didn’t exist. Until today!
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
[John Heagy] “You have got to be kidding me! Apple’s reads Reel in Red R3D but they couldn’t be bothered to read it in their own GD file!
That’s just rubbing salt in the wound!”As I said in another thread, I believe Apple has deferred this to the camera manufacturers via the camera import SDK. RED requires the RED importer plug-in and I believe that’s what takes care of adding the reel info. If FCP X could read the Alexa XML file, all the camera metadata would come in. But, of course, FCP X can’t read existing XML formats, like FCP 7, PPro or Alexa. So, even though that info is there, you can’t access it in X, unless you enter it yourself manually.
My guess is that Apple has simply dumped this back into ARRI’s lap (and Canon, Panasonic, Sony, etc.). Ironically EVEN AVID supplies the QuickTime AMA plug-in as part of the MC and Symphony installers. It seems to be Apple’s mindset to do as little engineering as needed to facilitate niche workflows. Opting instead to lay a basic foundation and then leave it up to third parties, whenever it’s outside of Apple’s main focus.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Jeremy Garchow] “Or as many as you want in a clip, not just the last one. It does work differently than legacy if you want it to.”
Yes, but only by holding a modifier key. Most of the time you just want the last entry held.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Sandeep Sajeev] “Yeah the PIOP’s thing has been done to death. As you say, spend enough time on anything and it will eventually become second nature. “
I completely see Philip’s point.
You have no idea what range(s) are in any of the clips, so if you start keywording a bunch of things at once or tagging them, you are only tagging the ranges, and not the clips. It was so much easier with just favorites as the favorite ranges didn’t override a clip range unless you selected those ranges. I’d like an option to turn this off.
An upside to it, is that you can mark and then tag a selection of ranges if that’s what you want.
[Sandeep Sajeev] “Jeremy, can you confirm that there’s no source time code in the event viewer? What happens when you turn on clip info?”
Source tc is displayed in the one tc window.
Clip info still works in the Event on the filmstrip.
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[Oliver Peters] “Yes, but only by holding a modifier key. Most of the time you just want the last entry held.”
I understand.
I don’t like this new method, but I am obviously not in the popular camp on this one.
Jeremy
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[Steve Connor] “So the dotted lines are “through edits” which is why it doesnt affect the project size, it’s only when you start moving the cut clips around does the project size start to go up, but by no more than adding a normal edit, or so it seems.”
This operates like mulitcam clips. I am so glad they made compounds like multiclips in that way.
The performance on multiclips has always been pretty good.
Jeremy
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[Jeremy Garchow] “I don’t like this new method, but I am obviously not in the popular camp on this one.”
In even more playing around, this isn’t very fun.
I appreciate the need for PIOPs, I use them all the time in other NLEs.
But FCPX doesn’t work that way.
I think this breaks (or significantly hampers) a really strong suit of FCPX and that is the organization methods.
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