-
Beats by Dr. Dre???
-
[David Lawrence] “Gaps are objects with the same object behaviors as clips. They hold sync for connected clips. You can’t ignore them, you have to deal with them.
Here’s a simple example, in case you missed it:”
You CAN ignore them, is this what you were trying to do in your example
https://www.youtube.com/watch?v=yf4tA9B3XsQ&feature=youtu.be
Steve Connor
“FCPX Agitator”
Adrenalin TelevisionSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
[David Lawrence] “Trimming in the storyline is always ripple trim. If you don’t want to ripple, you have to trim the gap object.
For example, let’s say I want to trim back a clip left without affecting program length. The only way to do this is by performing a rolling trim with the gap to the right.
“Simply not true, watch the end of my example video where you can see overwrite trims over gap clips
Steve Connor
“FCPX Agitator”
Adrenalin Television -
Not quite.
By individually selecting all the connected clips and re-positioning them in the Primary, you’re changing the clip connection points thereby creating incorrect clip relationships. At 15 seconds, if you wanted all clips to remain attached to the gap, you would have to go back and reset their connection points.
The whole point of connected clips is that once you connect to an object on the Primary, you define a sync relationship to that object. When you move the object, the connected clips move with it.
This completely breaks down with gap objects. Gaps break the model.
The second half of your demo does answer my trim mode point. Thank you! I stand corrected.
But again, this is a tool mode. The timeline is still ripple only. You can’t turn it off. The proof is my example of the ripple behavior that destroys clips to the right of the gap. Your demo does not address this behavior.
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
David, why would you want the clips connected to the gap? Their relationship with each other stays the same.
I’m afraid your “proof” video only shows a lack of understanding about how you edit in FCPX, you don’t work with gaps in that way
Steve Connor
“FCPX Agitator”
Adrenalin Television -
[Steve Connor] “David, why would you want the clips connected to the gap?”
To create a sync relationship between those two clips only. I don’t want their sync relationship defined or affected by other clips in the storyline.
[Steve Connor] “Their relationship with each other stays the same.”
Not exactly. In your example at 0:15, moving the clips down the storyline changes the connection of two of them to a clip on the storyline. Their relationship is now tied to that clip. What if that’s not my intention?
Do the relationships defined by clip connections matter? If so then your demo fails because it defines the wrong relationship between primary and connected clips when the connected clips are repositioned.
[Steve Connor] “I’m afraid your “proof” video only shows a lack of understanding about how you edit in FCPX, you don’t work with gaps in that way”
Overwrite Trim notwithstanding, I think I understand FCPX just fine. The problem is that the timeline object model is inconsistent, and in the case of my example, destructive.
The timeline is always rippling. That’s what makes it magnetic.
besides,
[Steve Connor] “How does FCPX impose one workflow?”
😉
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
[Oliver Peters] “Unfortunately, listening to its customers doesn’t seem to be part of Apple’s equation. If it were, we would have some choices within the app, which was the basis of your original post, I believe. Those who have been sitting on the fence in wait for that release will probably decide. “
I don’t want to belabor this thread, but I can’t resist pointing out that it circles back to the same position taken by nearly all the critics.
That “listening to it’s customers” is kind of dog whistle code for “*I* am the customer you must serve” – and I have no quarrel with any and every pro speaking up to indicate what they need and how X falls short of meeting those needs.
But again, just because your kind of pro needs something, that does NOT mean that all editors do. Maybe Apple was listening to customers – but not exclusively customers like you? With 2 million paid seats, there’s a LOT of diversity out there.
I remember clearly at the last TWO or THREE Supermeets Brian Meany and others on the FCP engineering team set up an interview camera outside the meeting at NAB and interviewed a significant cross section of actual users.
What if the truth of the matter is that the bulk of the users simply aren’t folks like you?
What if they saw growth in other areas – and NOT in high end seats like yours? What if they have studies in hand that speaks of a shrinking market for the ecosystem that supports the TV station or Movie studio set and explosive growth of video on the internet and the corporate use of video and motion graphics in business?
If so, then not worrying over much about meeting your needs might just be a reflection of the fact that the overall path to success starts out with a focus on general editing, and when that’s done right, they’re willing to grow it into the professional space exactly like they did with the original release?
Anyway, I’ve beat this too much. If you have comments, I’d love to hear them and let you have the last word. I truly appreciate the sounding board and the opportunity to test my ideas against others like yourself here.
Thanks for reading and giving my thoughts consideration.
Peace.
“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
-
“That “listening to it’s customers” is kind of dog whistle code for “*I* am the customer you must serve” ”
It is a bit of a stretch to suggest this Bill. And yes we are flogging a dead horse.
-
[David Lawrence] “[Steve Connor] “David, why would you want the clips connected to the gap?”
To create a sync relationship between those two clips only. I don’t want their sync relationship defined or affected by other clips in the storyline.”
Then move one of the clips to the primary storyline
[David Lawrence] “[Steve Connor] “Their relationship with each other stays the same.”
Not exactly. In your example at 0:15, moving the clips down the storyline changes the connection of two of them to a clip on the storyline. Their relationship is now tied to that clip. What if that’s not my intention?
Do the relationships defined by clip connections matter? If so then your demo fails because it defines the wrong relationship between primary and connected clips when the connected clips are repositioned.”
See previous point.
[David Lawrence] “[Steve Connor] “I’m afraid your “proof” video only shows a lack of understanding about how you edit in FCPX, you don’t work with gaps in that way”
Overwrite Trim notwithstanding, I think I understand FCPX just fine. The problem is that the timeline object model is inconsistent, and in the case of my example, destructive.
The timeline is always rippling. That’s what makes it magnetic.
“Once again your example shows that you don’t understand how to edit in FCPX, the fact you didn’t know about overwrite trim shows this. The timeline is NOT always rippling, you are wrong.
Steve Connor
“FCPX Agitator”
Adrenalin Television -
[Bill Davis] “What if the truth of the matter is that the bulk of the users simply aren’t folks like you? “
LOL. You are certainly making some assumptions here. For the record, I do cut high-end projects, but those are in the minority. As a freelancer I work on anything that I get called on to do. I also cut the same kind of convention support videos you’ve discussed on this forum, as well as news and sports. So there is a lot of diversity in the work I do. I certainly appreciate your points-of-view, I just don’t have as much confidence in whether Apple is developing a product that properly meets the needs of any of my clients. I’m sure Apple has talked to some customers. It’s just that those I know – who have had that sort of input – seem to be truly puzzled by the direction Apple has taken with FCP X.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Steve Connor] “Then move one of the clips to the primary storyline”
What if it’s not “Primary”? This doesn’t solve the problem or answer the question. Are vertical connected clip relationships meaningful or not?
[Steve Connor] “Once again your example shows that you don’t understand how to edit in FCPX, the fact you didn’t know about overwrite trim shows this. The timeline is NOT always rippling, you are wrong.”
Steve, with all due respect, when I’m wrong, I’m happy to admit it. Are you able to do the same? I was wrong about Overwrite Trim. You are wrong when you say:
[Steve Connor] “Using the Position tool turns the magnetic timeline off…”
It doesn’t turn it off.
[Steve Connor] “…leaving you free to place, move and trim clips on the timeline…”
Yes, it does do this.
[Steve Connor] “…without ripple.”
No, it’s not turning off ripple on the timeline. It’s a tool mode that overwrites and inserts gap when needed. Not the same thing as turning off timeline ripple.
Try my example yourself and watch what happens.
The reason the edits get destroyed when you nudge a gap with the Position Tool is because the timeline is rippling them into the gap space.
If the Position Tool really “turns off the magnetic timeline” as you keep insisting, this wouldn’t happen.
Try it. “You’re holding it wrong” isn’t an answer.
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl
Reply to this Discussion! Login or Sign Up