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audio in FCPX
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I’d like to know what the equivalent is to cmd+option+L in FCP 7. Adjusting levels clip by clip is ludicrous. Muting by changing a level is pretty bizarre too. How do you remember the previous level?
I like just about everything in X except editing at this point. They need to lose this magnetic timeline thing, or at least make it a mode, like the beginner modes in DVDSP.
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[Bret Williams] “I like just about everything in X except editing at this point.”
Wow!
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If the audio is detached “V” disables it.
Otherwise in the Inspector Audio tab clicking on the Check Box next to the channel disables it. One box for stereo or if dual mono (etc) disable the channel of your choice. -
Ok, it’s missing features obviously. I mean, i think its the first NLE of all time without a drop shadow effect. But I like the key wording/favorites, background stuff, handling h264, and where that is all headed. But it’s just a horrible editor for me.
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[Bret Williams] “I like just about everything in X except editing at this point. They need to lose this magnetic timeline thing, or at least make it a mode, like the beginner modes in DVDSP.
“Take away my magnetic timeline over my dead body.
It’s literally one of my FAVORITE things about X.
One of the things I do a lot is voiceovers (I’ve done more than 300 paid ones) pre-editing my recorded tracks in the event browser and using the magnetic timeline to assemble rough cuts – especially in chapterized and multipart programs – rocks.
Yes, I’d learned to to do similar and work fast in my 10 years editing in Legacy, but it’s far easier IMO to rough cut in the Event Browser, and magnetically drop those constructs in X – instead of having only a single space (the timeline) where every element defaults to arriving disconnected and therefore has to be purpose-positioned every time.
In X, timing of each part of my VO is trivial, precisely because I have access to trimming in BOTH directions via the trackless and magnetic timeline and nothing I do in one edit, messes up anything else, up- or downstream of where I’m working.
Plus, the way X is designed, every second you spend in the event browser editing, compounding, and pre-editing gets leveraged across wall uses from that point on.
I find that to be a very superior design construct.
And it’s in this context that, magnetism makes HUGE sense. Once you do your “pre work” in the Event Browser – and then import those prepared “modules” to the timeline they can be handled as semi-finished units which “attach” to each other in a semi-persistent fashion.
I think the people who have the most problem with magnetism in X, are folks who haven’t come to understand the deeper changes in the workflows that X allows.
Until you understand this – and certainly if you try to operate X as you operated in Legacy – expecting to do EVERYTHING in the timeline, the hidden power of magnetism will likely remain a distractive hassle rather than one element of a new system that encourages pre-editing in the Event Browser – rather than seeing “editing” as something exclusively done in the Timeline.
FWIW.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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As to your quote: “I mean, i think its the first NLE of all time without a drop shadow effect.”
I’ve got to say Huh?
You realize that the titler in X is a subset of the code in Motion, right? If you consider FCP-X to be the sum of the interoperating parts (exactly as we were expected to view the Legacy “suite at barely 1/3 the price, the X “suite” has more (and superior) shadowing available (drop, cast, transparent, 2D, interpolated 3D, etc. etc.) than any program I’ve used prior.
I honestly think you’re just stuck in a mental space where you desperately want X to be “just like” Legacy, so you don’t have to re-learn and change too much.
And sorry, Bret, but that’s not going to happen.
It’s a new program. And for everything you’re stuck seeing as “missing’ there is so much you’re simply not noticing because you haven’t spent the time to uncover how the new process works.
Honestly, until someone stops concentrating on what FCP-X is not. – and starts focusing on what it IS. I don’t think they’ll ever really fully “get it.”
FWIW.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Bill Davis] ” this opinion only has weight for those who are coming to X from a very particular mindset – that of the professional video editor working in a high-volume, complex workflow professional practice who is accustomed to having access to specific tools that address common problems faced at the highest level of “sound for picture” practice.”
Splitting your audio over multiple sources is hardly the provenance of high end video. I’ve done it for years back when I was making corporate videos. You may not use that technique, but it’s very common, no matter the budget, and any NLE that can’t handle it is seriously lacking.
PPro version 1 was very clumsy dealing with this back in 2005 which is why I chose FCP over it 7 years ago. I was shocked that PPro couldn’t deal with this properly then, I’m more shocked that 7 years later it’s a problem for FCPX. This is very basic stuff, even if it means nothing to you.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
I work regularly in one of the more sophisticated DAWs, Digital Performer, loaded with a lot of great Plugins and VIs and primarily use Focusrite gear on the front end.
I also do a lot of our audio in FCP X.
I won’t waste anyone’s time with obvious benefits of a full blown recording and mixing environment like DP. The point I would make is that I edit and mix some audio in FCP X because it’s simply faster to do with a lot of projects.
Faster than Digital Performer, for instance, for quickly editing dialogue and VO work, ducking music to voice in realtime, and even grouping audio for “track wide” EQ and compression.
Now for a complex mix, like when I need to to see all my tracks and faders and levels in front of me across 48 channels, there’s no comparison to the control and vision of a big league DAW.
But you need to understand how to mix audio in X to appreciate how facile it can be for less demanding audio post.
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[Herb Sevush] “Splitting your audio over multiple sources is hardly the provenance of high end video. I’ve done it for years back when I was making corporate videos. You may not use that technique, but it’s very common, no matter the budget, and any NLE that can’t handle it is seriously lacking. “
Absolutely agree and that was my point. It’s really a very simple issue that I and most other editors routinely deal with on the lowliest of productions. You shoot an interview and feed two mics to two different channels of the same camera. Or in the 5D/7D era, two channels of a Zoom or Sound Devices recorder. Dual-mono, split-channel audio. These are sync and married to the picture in FCP X. I want to independently edit and mix each track. I do not want to detach the audio, because FCP X too easily lets these get pushed out of sync. I don’t want to pre-edit these in the source by “open in timeline”. I don’t want to create a compound clip for these, as I need to do the mix in context, within the timeline. Please explain how I do that in FCP X.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Excuse me Bill. Did I mention a titler? I’m just looking for the drop shadow. I have a bug, an alpha channeled graphic, a cropped image, anything BUT a title that needs a drop shadow.
And I do know that there are free drop shadow filters out there you can add. But really?
As I said, I like a lot of the concepts, where it’s headed. Except for the screwed up timeline. Great, magnetic. Where do I turn it off? Great no tracks. Where do I turn them on?
Nuthin you haven’t heard before. Give me a viewer too. They might stick with the magnetic thing, but they’re gonna have to give on the audio tracks at least. It’s true you don’t really need video tracks. Oh, wait, except when I do all the lower 3rds on say track 5 so I can turn them off, etc. But I could live with that issue.
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