-
And the lightbulb goes on…
-
And as I read my own explanation, hard to describe on paper.
Basically, Auditions allow you to store multiple takes in one clip.
You can simply flip through takes, and the timeline adjusts to new timings. Any edits or timing changes you make to the take also gets saved with that take, so one Audition clip can have many timings.
Since the timeline is magnetic, it simply adjusts to the timing of the new take, and all relative timings around the clip stay in place.
To get back to where you were, you simply select the original take. There’s no 45 levels of undo, no duplicate working timelines, just a keyboard command to get back to the original take.
If you need to review those takes again, much later in the edit, they are still there in the Audition. It is very handy.
Jeremy
-
[Craig Seeman] “FWIW I don’t see as many people moving from FCP7 to PremierePro or Avid saying they are significantly faster. Maybe because they are significantly similar and people are only making marginal changes in workflow.”
I think going to FCPX certainly forces the user to rethink their methods in a way that going between FCP7, PPro and Avid MC do not. Many people will try to shoehorn in their ‘tried and true’ methods of working into Avid, Legend and/or PPro even if it’s counter productive. All though we should always hit the ‘refresh’ button when learning new NLEs FCPX is really the only one that forces us to do so so completely.
W/regards to speed, a couple months ago I started a project on PPro CC (it’s what the shop used, though I’d barely done more than open the software) and just thanks to the improved tools over FCP7 (multicam, native editing, etc.,) I was able work much faster than if I had been using FCP7 (or Avid MC). Maybe since I didn’t have to struggle to reach the ‘eureka!’ moment I was less inclined to share my experience as there weren’t really any obstacles of note to overcome before I saw in increase in productivity?
With regards to Avid, I’ve worked on shows where I just don’t think it’s possible (or at least not pragmatic) to cut them on any other NLE so in those cases I’m not making speed comparisons in my head because I don’t think there’s anything to compare. lol As an example, one of the show’s I’m talking about is a multi-editor setup (8-10 editors and a couple of AE’s) sharing media on an ISIS, using a traditional offline/online workflow (finishing is done out of house) and each project contains about 30,000-35,000 pieces of media. No, I’m not exaggerating. The editors have access to all media from all previous seasons so the amount of footage just keeps going up. Surprisingly Avid’s search tool is pretty responsive given how much data there is (typically returning queries in a few seconds).
There are certainly aspects of FCPX that sound very appealing (like auditions) and maybe this year I’ll come across a project that will allow me to jump feet first into X.
-
[Andrew Kimery] “maybe this year I’ll come across a project that will allow me to jump feet first into X.”
I’d suggest a swan dive.
-
I also love auditions. And not just individual takes but *entire scenes* can be stored within a clip and be auditioned (as compound clips). You can then easily flip between different edits of a scene, compare them, see how these fit in their context, etc., and the timeline adjusts automatically. The different scenes happily live together in an audition, creating no “clutter” and making experimenting and later reviewing your work very easy.
This has always been one of my favorite features and one I use it a LOT, but surprisingly it is almost never mentioned.
-
[Jeremy Garchow] “I’d suggest a swan dive.”
How about a cannon ball? That’s more in line with my diving abilities.
-
[Jeremy Garchow] “I’d suggest a swan dive.”
[Andrew Kimery] “How about a cannon ball? That’s more in line with my diving abilities.”
I tried for a swan dive, but it came out more like a belly flop.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Andrew Kimery] “a multi-editor setup (8-10 editors and a couple of AE’s) sharing media on an ISIS, using a traditional offline/online workflow (finishing is done out of house) and each project contains about 30,000-35,000 pieces of media. No, I’m not exaggerating. “
Bingo!
Anyone care to address this with a head to head comparison? Where are all the examples of shared workflow at this scale?
-
[Mark Raudonis] “Bingo!
Anyone care to address this with a head to head comparison? Where are all the examples of shared workflow at this scale?”Bacause FCPX is well known for functioning in an ISIS like environment!
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
-
Flipping between auditions almost always crashes my system. But I haven’t tried it in awhile.
-
[Steve Connor] “Bacause FCPX is well known for functioning in an ISIS like environment!”
That’s kinda the point is it not? When people talk about how much faster their process is using FCPX and question why others are still using FCP7 or clunky old, it-came-from-the-90’s Avid MC it’s because of reasons like this. Someone please correct me if I’m wrong but in these types of situations FCPX is currently a non-starter is it not?
And it’s not like X necessarily has to be as good as Avid in a large, multi-editor environment it just has to be good enough. I think Avid offers the best experience by far when it comes to environments like that (especially from an AE’s perspective) but Mark and his team helped legitimize FCP Legend years ago by successfully switching their facility from Avid to FCP.
Reply to this Discussion! Login or Sign Up