Apple looking to fix UI in FCPX?

[Franz Bieberkopf]

[Charlie Austin] “I’m a KB shortcut kind of guy when chopping things in…”

Charlie,

Select All, drag to timeline. KB shortcuts from there on in …

Franz.

[Franz Bieberkopf]

[Carsten Orlt] ” Do you have to move them after you put them on standard V1 A1-2″

Carsten,

… All the time.

Franz.

[Franz Bieberkopf]

[Charlie Austin] ” In a perfect world, you’d just hit “send to Logic” and there you are. Just like MC->ProTools or Premiere->Audition. I too like decent audio monitoring and the ability to get a good mix while cutting, and I think most NLE’s, even X, provide that capability. I don’t want an Uber App that does everything, but that’s a personal preference..”

Charlie,

In a perfect world, we wouldn’t have to switch applications, worry about translating, creating new projects in each application, maintaining parity, reconfirming after changes, etc. etc. etc.

If we’re talking about ideals, I’m surprised you would limit your ideal to “send to other application”. My ideal would be to have all the tools I need available when I need them, and hidden when I don’t, without any negative implications for performance, and without having to deal with translating from one application to another. That’s my “perfect world”.

Franz.

[David Lawrence]

[Carsten Orlt] “It’s just me but big statements like ‘most natural’ I do not like. FCPx timeline shows there is a different way. It still has parallel streams just not confined by multiple tracks but one. “

There’s lots of different ways. Different isn’t necessarily better. If the magnetic timeline is just as good for multi-channel sync sound as it is for video, why wouldn’t Apple design Logic X around it? For some funny reason, DAWs still use tracks, including apparently, Logic X. Why do you suppose that is?

[Carsten Orlt] “It’s only arbitrary from the outside. It’s simply a solution to get rid of track panels and patching and clip collision. If you start with the premise that you don’t want any of the three in your timeline than you have to kill tracks. Not arbitrary but a given outcome for a defined goal. FCP software engineers didn’t just put something to annoy you. They actually had a goal. If the goal is not something you can subscribe too than obviously you don’t like it because for you there was nothing wrong in the first place.”

Yes! 🙂

[Carsten Orlt] “[David Lawrence] “would you want a DAW with a FCPX-like magnetic timeline? Would having only one main track in default ripple mode – that all other channels must connect to – be a better, more natural UI for working with multi-channel sound?
”

Don’t know, don’t do sound :-)”

lol, I get that answer a lot around here! 🙂

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David Lawrence
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[Jim Giberti]

[David Lawrence] “would you want a DAW with a FCPX-like magnetic timeline? Would having only one main track in default ripple mode – that all other channels must connect to – be a better, more natural UI for working with multi-channel sound?”

This, I think, gets to the heart of it, and not because Carsten is one of many video shooters/editors who aren’t familiar with recording studios and mixing. Mixing audio has very little in common with editing film/video and it has evolved to a very powerful level since we moved from analog tape.

A mixer is a mixer is a mixer and it’s not going to be replaced by Roles no matter how nicely they’re implemented in the future. Now despite having moved from a big analog console to a big digital console to now a big digital screen – I still have a mixer in front of me with all of my elements interacting in real time and the ability to effect them in real time.

Anyone who understands crafting an audio mix learned very early on – I learned it at Blake Hill Studios when I was sitting in with the engineer mixing my very first work – that the slightest adjustment to a track’s EQ or another track’s panning, or another track’s dynamics, immediately effects the overall balance of the mix and the presence of surrounding tracks. Thereby requiring a delicate balance of moves and compensations to get a great mix. That’s where the artistry of the engineer lies.

If you’re serious about mixing audio, there’s no such thing as: open in timeline, tweak, close in timeline and open something else.

Can you imagine one of those clever little animations (like Time Machine) where you click a button and the timeline morphs into a mixer with all the audio tracks and filters laid out below the viewer?
I sure can.

[Charlie Austin]

[Jim Giberti] “If you’re serious about mixing audio, there’s no such thing as: open in timeline, tweak, close in timeline and open something else.

Exactly. And this is why to me, having a virtual mixing console in an NLE is dumb. I get it, but i never used it. I’m cutting picture. That’s why I like X. And fcp 7 too for that matter. Other than patching tracks, audio manipulation is super quick and easy. Premiere? Maybe powerful but easy and fast? uh… no. Hell I wouldn’t want to cut a spot in Protools or Logic. 😉 As an aside… Avid shouldn’t have killed Audiovision. That was a great DANLEW. 😀

And yes, audio handling, and roles.. whatever, needs to be beefed up in X more for, in my opinion, organizational purposes than anything else. Faders in an NLE are superfluous IMO. Maybe X needs one fader per Role for overall leveling, maybe. Individual clips can be adjusted very nicely right now with keystrokes/keyframes. EZ. In a perfect world what would happen is…

[Jim Giberti] Can you imagine one of those clever little animations (like Time Machine) where you click a button and the timeline morphs into a mixer with all the audio tracks and filters laid out below the viewer?
I sure can.”

Drool. 😉

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~”It is a poor craftsman who blames his tools.”~