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2005-fcp 5, 2012-fcpX
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[Aindreas Gallagher] “the bile bit is quoting austin’s passive agressive bon mot below.”
No, I really did just think it was a funny line. I apologize if it came across as an insult or something, that was not my intent. And I do agree that X’s waveforms are not as detailed and useful for some tasks. I disagree with the way worse characterization though. Actively. 😉
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~”It is a poor craftsman who blames his tools.”~
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[Franz Bieberkopf] “I’m amused at how beaten down and humble the editors have become. Because it is just beyond software and hardware to have both a mixer and decent audio plugins …”
I really want a mixer, it is a necessary addition going forward and I’ll be disappointed if I don’t get one in the next few months, either that or a new version of Logic Pro that interchanges with FCPX seamlessly.
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
[Charlie Austin] “[Aindreas Gallagher] “the bile bit is quoting austin’s passive agressive bon mot below.”
No, I really did just think it was a funny line. I apologize if it came across as an insult or something, that was not my intent. And I do agree that X’s waveforms are not as detailed and useful for some tasks. I disagree with the way worse characterization though. Actively. 😉
“I’ll go with that too. They’re not a deal breaker for me. I just don’t like the implementation.
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[Chris Harlan] “I wouldn’t correct it there. I could just see it. “
Got ya.
[Chris Harlan] “But this all getting out of hand. And people are getting angry at each other over their personal preferences. So I think maybe its time for me to just butt out.”
I’m not angry. I’m just curious as to how the waveforms in 7 are so much better that it negates all that is good in FCPX. It doesn’t seem to add up for me.
When I add a compressor or limiter in X, i can see what’s happening. I find that to be more useful than FCP7s waveforms which are not active.
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[Chris Harlan] “Okay. Yeah. I agree completely. Sorry for the knee-jerk reaction. As to audio post, I generally prefer what I do to what I get back because I’ve been building it as I go. And while having a second ear is always a good thing, that 2nd ear generally comes out of my pocket, so I do pay careful attention to my mix.”
I hear ya. (pun intended) I get pretty detailed with my mixes too. And in the interest of full disclosure, I used to hate sending spots to be mixed, because invariably it wouldn’t sound like what I had done. So I’d tweak it, go to mixes, and be the annoying client I always hated when I was a mixer… well, not really, but I was a frame-f**ker, albeit a considerate one, at times. Now? phhtt. If the client’s happy and there’s no important audio missing, I’m happy. Jaded? Yep. 😉
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~”It is a poor craftsman who blames his tools.”~
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[Jeremy Garchow] “I’m not angry. I’m just curious as to how the waveforms in 7 are so much better that it negates all that is good in FCPX. It doesn’t seem to add up for me.
“It doesn’t. Not at all. Its just a weak link. Lack of a mixer is a far weaker link. Neither undermine, in my estimation, the dramatic advances in other areas of audio.
[Jeremy Garchow] “When I add a compressor or limiter in X, i can see what’s happening. I find that to be more useful than FCP7s waveforms which are not active.”
Yes. Plugin implementation in 7 is/was crap. I could comfortably use pitch shift as well EQ, but almost any other audio program is preferable. Generally if I have to do anything other than a change in pitch or an easy blocking of certain frequencies, I export and work on it in Logic or ProTools or STpro.
So, yes; three steps forward, one step back. No argument that it is moving forward.
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[Jeremy Garchow] “[Shawn Miller] “Seems like it would be nice to have both. :-)”
*shakes fist* Both? Ha!”
LOL – sorry man, I obviously need to pick. 🙂
[Jeremy Garchow] “In X, you can at least SEE what the filters are doing to the audio.”
And that’s a good thing. It’s one of the features I miss about Vegas.
[Jeremy Garchow] “If you are having DC Offset issues in 7, how do you know when it’s fixed? Guess and render send it to an updatable waveform that will redraw the proper fix?”
Possibly, I’ve never used FCP. Though this is very easy to fix in PPro and Audition… but it would be nice to be able to do right on the PPro timeline (like FCPX).
[Jeremy Garchow] “Sorry guys, audio in FCPX is better even with worse waveforms.”
I’ll take your word for it. 🙂
Shawn
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nope, that there is an old fashioned objective fact. they’re jagged low information crud.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “nope, that there is an old fashioned objective fact. they’re jagged low information crud.”
Yes I agree
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
Tis funny people complaining about audio waveforms.
Just wait to you try Avid.
The whole reason I’ve tried to stay away from it being an engineer becoming an editor. The redraw is just ridiculous – it doesn’t seem to cache properly. And they own Pro Tools.
I remember asking an old school editor (I’ve been editing for 18 years, him 30) how he’d see the next grab – he said ‘I hear a sound then go back 7 frames and cut it there’.
At least since vers 5.5 you can turn on the tracks waveform individually instead of doing custom timeline presets. If you’ve got an hour show redrawing the whole timeline, it’ll take round 30 secs – suppose you can plug the ‘wish we had FCP7’ or ‘we should try FCPX’ while you twiddle your thumbs with the director whilst trying to turn it off and not trying to invoke a crash.
Being limited to 24 mono tracks now in 6.5 is better, still find in a large layup that I’m trying to avoid having just these voices on, with disregard to my engineers preferred track allocation. What will Walter Murch do now with limited audio voices if he decides to change back?Jon
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