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Audio Only cross fade in X
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[Howard Duy Vu] “To sum up: it would be nice to have, but the fade handles are superior even though they take a bit more time.
“Yup. It’s fine to say that you don’t like the way X handles audio fades, but to suggest it doesn’t exist or requires a workaround is completely inaccurate. Fade handles are designed for this exact thing.
Personally I use them only when there is an actual auditory need for them. Rather than just preemptively on everything. But to each their own. If this is a true issue lots of people have, Apple could create a keyboard shortcut that would trim the audio an extra 3 frames, and apply a 3 frame fade. It would do the exact thing some people seem to want.
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[Howard Duy Vu] “the fade handles are superior”
It should be DAW-style in all NLEs: audio clip collisions create an overlap audio auto-cross-fade.
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Very cool Richard, thanks for the post and the pics.
I have never used a DAW myself. Would like to learn more about this side of the table.
[Richard Herd] “You can see in the top left a bunch of Photoshop type of tools, where it’s literally possible to paint out sounds. In this case , I erased a whirring heater that we could not turn off because it was 17 degrees that day. “
This is an awesome feature that RX has also. I am not up to speed on it yet but there are some things I want to paint out. To use this part I think I have to send out of X to the stand alone version of RX
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Well that’s not a bad feature to add, but I would only want it as a toggle because I wouldn’t necessarily always want an audio crossfade with every time and audio clip butted up against another one. And still, it doesn’t change the fact that even if it added them automatically, you would still have to listen to the cuts and perhaps adjust them anyway.
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My guess is they don’t like the visualization of there being an audio only cross dissolve and it looking like a transition. Since the normal mode is a collapsed view, it’d pretty much have to look like the workaround. Of course there could be some way to make it obvious it’s an audio only transition, but then what do you do when you have an audio transition of one duration, and a video transition of another. It’s a problematic visual representation with the collapsed view. So I think their answer was that if you want an audio transition that’s different than the video transition, then you manually drag the audio clips out. Which wouldn’t be that odd because to create an L or J cut you have to do that sort of thing anyway. But they sorta forgot we might want audio ONLY.
it also drives me nuts that in collapsed view, if the audio is longer than the video (L cut) you don’t see any representation of the audio. It’s just wrong that in that case you can hear audio but there is no representation for it in the default view of collapsed.
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I only use the tilde in two instances. When slipping/sliding a shot that has shots connected to it. (Why would I want the connected shots to move too?) And when moving a shot that has clips connected to it. But mainly the former.
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[Howard Duy Vu] “as a toggle”
Exactly! A preference to turn or off.
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[Bret Williams] “When I first got trained on Avid in 1996, step one was to insert an hour of black so you could work on the timeline anywhere you want as overwrites. That seemed pretty silly, by it was what everyone did as a first step in an edit.”
Huh? I’ve never seen any Avid editor ever do that and I’ve been on and off Avid since about 91. You are correct in that MC does not treat the timeline as a slug, like FCP “legacy” does. In that sense MC has always been like X’s magnetic timeline. Just insert and go. If you have pieces that are out of order, use separate sequences and combine them in a master timeline.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[James Ewart] “I use a few frames of gap if I am wanting to anchor my music to the beginning of the timeline.”
Exactly. With a trackless timeline, you still have to pick something as an anchor. This would be time in a track-based system, but there is no such thing in X, since clips operate with a parent-child relationship. I will frequently connect music to a gap and then edit all clips as connected clips. I do this because I don’t want a clip’s approximate length to arbitrarily shift later clips out of position – especially is they need to hit on a certain point in the music. I work this way until I’m happy with the arrangement. Then I overwrite to the primary storyline for further refinement.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
The timeline grew as you added. You couldn’t just overwrite something 20min down the timeline. The timeline also annoyingly shrank if you removed stuff at the end. So if you wanted a nice workspace to shuffle things around in, then you needed to put something in the timeline and move it way down. I think I used to put a frame of audio ( with volume down) in and then move it 30min down. One of the first tricks I was shown. I saw it done quite a bit. But I haven’t had to touch an avid since 2002.
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