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Creative Cloud
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[James Ewart] “I think Formula 1 cars ditched the clutch some time ago!
“F1 cars have a clutch though it’s only used by the driver when coming from a full stop. The driver controls shifting using the paddles behind the steering wheel though it’s not an automatic transmission. It’s an electronic process, as opposed to a mechanical one in a regular car, but when to shift is still completely up to the driver. Being able to independently control the wheel speed and the engine speed is can certainly be advantageous.
On a related note, =engine braking is another advantage to manual transmissions that can have an everyday use (depending on where you live). Growing up in the Midwest (with ice and slush blanketing the roads during winter) having a manual and being able to control the car’s speed w/o touching the brakes certainly came in handy at times.
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Yes! It’s what makes rally drivers so talented in comparison with F1 drivers. Manual cars, clutch, very high speeds, tree and spectator lined tracks and surfaces that change from tarmac, gravel, grass, mud, snow and ice!
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[Tom Sefton] ” surfaces that change from tarmac, gravel, grass, mud, snow and ice!”
Not like those pansies and their asphalt! :-p
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[James Ewart] “So how ideally would you like to be able to identify stuff if not be reading what it is in timeline? Colour coding for different instruments? Or how? I’m interested to understand your requirements. I think so many of us work in a bit of a bubble these days it’s really interesting to understand other peoples’ workflows and needs.”
For music with split out layers Drums is first (top) layer, Bass is second layer, Rhythm guitar or other percussion on three, then keyboards then solo instruments on bottom. This is customary, so when looking at the tracks I know that rhythm instruments are the top few layers, solo and lead instruments are on the bottom. I will have my track heights reduced for the first few layers because the beats are easy to make out and will keep the tracks wider for those layers I need to specifically identify. While i still might have to read a label to find the piccolo, this is a lot better than a random organization with no visual clues.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
I’m led to believe that saloon and rally car drivers more often than not bypass the clutch and jam the gear in to save time.
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For want its worth its pretty straightforward to put your audio in any order you like in FCPX….some young Turks are even putting audio above video I read somewhere.
And why not? -
And if you are using audio that is “on camera” audio or attached to video, you can put the video below and see the source of the audio in the thumbnails.
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[James Ewart] “For want its worth its pretty straightforward to put your audio in any order you like in FCPX….some young Turks are even putting audio above video I read somewhere.
And why not?”Will it stay there when you make cuts in it, will it stay there as you drop other audio edits into that part of the timeline?
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “Will it stay there when you make cuts in it, will it stay there as you drop other audio edits into that part of the timeline?”
You may need to put it in a secondary storyline (which is like a temporary track). And sometimes, the order gets goofy, but it’s not a big deal if you are generally OK with FCPX.
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[Jeremy Garchow] “And sometimes, the order gets goofy, but it’s not a big deal if you are generally OK with FCPX.”
But that’s one of the points here, if you don’t mind the order getting goofy then all of X’s benefits make the decision easy, but if maintaining that track order is a requirement, then X is not for you. It’s not a right or wrong, it’s a preference issue, but it’s as inaccurate to say that the magnetic timeline doesn’t require trade offs as it is to say that it doesn’t work at all. Neither of those statements are true, and it’s up to each editor to figure out if the trade offs are worth it.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf
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