7toX- this sucker really works well!

[Jeremy Garchow]

[Aindreas Gallagher] “there seem to be variable results?”

A v1 product that translates from a v5 interchange to v 1.1 interchange that involves linking “Russian to French in English” (paraphrasing Philip Hodgetts) doesn’t work for every situation quite yet?

Understandable, no?

Also, in my opinion, ti’s clear that FCPX isn’t ready for feature length work. It needs some tightening up.

Philip Hodgetts wants to hear when it doesn’t work, so be sure to send him an XML of your busted FCP7 projects.

It doesn’t come across perfectly, but it does come across. There’s some clean up to do, and perhaps some keyword rearranging, but all of that is pretty easy in FCPX.

There’s are my opinions only. Everyone’s capacity to deal with new software is different.

Jeremy

[Aindreas Gallagher]

[Michael Gissing] “It is a bit like a train with sloppy linkages.”

I’m a troll for the ages really, all I want to do is foster communally kicking apple to see what it gets us – BUT some elements here are insurmountable. I keep getting left at the timeline – even the verticality of the clips at zoom levels. the legibility of the FCPX timeline – the way the clip lozenges bunch into pixel heavy narrow stilts at median ranges – the range at which I can usefully interact with the media is crazy, the options for clip and audio waveform balance is so bad – I keep clicking the lightswitch and making nuts manual adjustments right at the left edge of the clip scale parameters is ludicrous.

we need to be honest in our criticism.

we’re talking about the visual mechanics of the timeline here. there is no worse timeline, in lazy pixel heavy conception or reactiveness than the FCPX timeline. purely based on GUI zoom scales and attributes. there simply isn’t. call me a liar. that timeline – forget what its trying to do – is a dog.

also –

A: the keyframe editor as a physical attribute of the clip is horrible. makes no sense, is very hard to deal with. Also the transfer modes break if brought over a transition point with an effect attached.

B: the power windows for colour correction are the best thing I have ever seen in an editing system running like a breeze on a current iMac. Ever. its insane.

C: apple, with the multiclip window have already chosen to push things off the primary left edge of the gui. the conditionality of the GUI needs to be increased

also: Adobe introduced a preference option to pull the gradients off AE around 7 point something, – we’re asking for the same. No dissolves, less chrome. Reactiveness is key. we need a speed demon version. the posted examples of realtime triming have, when you try them, horrible lag. if apple want to win here, they should win.

Lawrence is asking for the provision of multiple primaries – that’s not crazy and it wont wreck apple’s deeper goals. Apple need to introduce this behaviour in the inverse of Avid – we need to go to a preference to open up crazy – i think this is possible because, even with the run in, they ran out a crazy multicam in no time. flat fact – there has to be an option to re-conceive the methodology in that timeline – we need the room. there is currently no room. personally – I bloody hate the timeline. please let me change it a little.

we cannot only have two editing systems on the pitch. that would likely be extremely damaging. Apple have to get back into this.

And Not with Jesuit trolls like myself screaming on either side – we need to make the conversation about this software generally viable.

http://www.ogallchoir.net
promo producer/editor.grading/motion graphics

[Don Scioli]

Yes, I admit that FCPx BLOWS. New iterations come out, such as 10.0.3 or 7to x, I get psyched up and start trying to work in X for a while, then the thing just gets really cumbersome, buggy, counterintuitive and I have to spend a lot of time doing things that in FCP7 i could do in 1 minute.

I really want it to work, but after the 100th time, I admit it sucks.

But I’ll try it again with the next upgrade/add-on/plug, etc. that comes along.

[Jeremy Garchow]

[Aindreas Gallagher] ” we need to make the conversation about this software generally viable.”

That’s the most sense you’ve made in a long time Aindreas. Kudos.

The timeline doggsihness comes form this autosave. You can almost watch it happen.

I completely agree that the ratio of audio to vidoe is silly, it needs to be adjustable.

In my opinion, the keyframing is better in X than in 7, but it’s still not great.

The motion tab postion tool needs to be changed from px (which as Andrea Kiel pointed out is perXent) to actual PiXels.

The list goes on.

[Aindreas Gallagher]

[Jeremy Garchow] “The motion tab postion tool needs to be changed from px (which as Andrea Kiel pointed out is perXent) to actual PiXels.”

Oh you’re fun… 😉

basically – I think the current clip tied key frame presentation is a mistake? I can access the key frames left and right blind in the inspector, but attempting to invoke a keyframe editor, spatially, over the real estate of a given clip is lunacy. Its ridiculous.

it is preferable say, to have a narrow contextual keyframe representation across the base of the entire app/screen that might be more appropriate.
3DSMax has essentially had this for ages as selective complexity/control.

2 cents. IMHO. etcetera whatnot.

either way – the entire keyframe apparatus physically spatially hanging off the clip?

NEIN. try harder.

look up the 3DSMax. I worked the app for six years. the keyframe thing works.

http://www.ogallchoir.net
promo producer/editor.grading/motion graphics

[Jeremy Garchow]

[Aindreas Gallagher] “[Jeremy Garchow] “The motion tab postion tool needs to be changed from px (which as Andrea Kiel pointed out is perXent) to actual PiXels.””

Of course that would be Andreas Kiel. Not sure if he has a sister named Andrea that has the XML chops of Andreas, but we can imagine….

[Aindreas Gallagher] “it is preferable say, to have a narrow contextual keyframe representation across the base of the entire app/screen that might be more appropriate. “

That’s kinda how 7 is, and it is also goofy.

3DSMax seems pretty cool, though. I like it. It’s like playing a game of keyframe Pong. Apple would never be that sensible with keyframes, remember they tried to do hide them as best as possible in Motion 1.

What I don’t like about the keyframe viewer is it shows me everything that I don’t need to adjust.

Audio needs the most improvement. We just need more control. Please. Let me see all my audio tracks (but not in Tracks), let me manipulate them individually, in context, without having to send them down to the bowels of the area below the primary. GIve us sensible organization that does not involve tracks.

Let me edit (change the name) of a Role in the Role editor, let me select all chosen clips when using the Role index.

And you’re right. Give me some speed. I can make decisions faster than ever, but then I have to sit and wait for the GUI to catch up. Preference turn off the animations, and figure out what the hell is taking the autosave so long. Why can’t compounds work as fast as muticlips?

Thank you kindly for reconnect and the corrupt Project fixer (which usually breaks because of autosave)

Thank you kindly, for video out, even if it is beta.

[Bret Williams]

I only exported a sequence, not the whole project. It created a timeline where the audio no longer synced up, and the video never showed in the canvas. It was hard to tell since there wasn’t much visual, but it looked like 10min was strewn over a couple hours. Like it didn’t actually edit the clips but used the whole thing. I used 4 tracks of music. Each cut up so it would fit and hit at certain points. The cuts were gone, and the entire track of music was there, and just kept playing after the VO was long done. When it was done the next cut began in sync with the VO again. Repeat. Stuff like that. Kinda like pasting 24p into 60p sequence. There’s all sorts of gaps and any sense of sync is out the window. AND I actually was using 60p in a 30p sequence, so that may be the culprit, but it’s not an excuse. People mix and match frame rates in FCP all the time. They shouldn’t of course, but you’d hope using 7tox would make it possible. My 60p footage was actually 30p frame doubled by the kipro, so I wanted every other frame dropped. I don’t think it liked my nested sequences either. Lots of layers too, but it seemed to arbitrarily choose which ones to show.

Anyway, yes,except for the strewing about, these are problems with all conversions. But, just like going from FCP to PPro, unless it’s a cuts and dissolves thing, it’s fairly useless. And if your sequences are that simple, they be better off getting updated old school by just editing to the raw QT master itself I think. My stuff is corporate, with tons of sfx, music, VO and nat. Usually 10 or more video layers too. This will probably never port anything useable for me.

[Jeremy Garchow]

[Bret Williams] “This will probably never port anything useable for me.”

I would use the support email over at Intelligent Assitance, This is the advantage of being able to work with a small third party company to get things fixed and fixed soon.

This is a good read: https://assistedediting.intelligentassistance.com/7toX/about.html

info at AssistedEditing dot com

[Bret Williams]

I’m guessing Adobe hired him before he fixed the train!

[Aindreas Gallagher]

[Jeremy Garchow] “And you’re right. Give me some speed. I can make decisions faster than ever, but then I have to sit and wait for the GUI to catch up. Preference turn off the animations, and figure out what the hell is taking the autosave so long. Why can’t compounds work as fast as muticlips?
“

and right there – your people’s congress at work on shared issues that count.

more of the real critical speed please. its a fine starter.

http://www.ogallchoir.net
promo producer/editor.grading/motion graphics