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Editing scenario
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[Tony Sarafoski] “Jeremy, your screen grab just gave me an idea. Why not add just a black generator, give it a custom roll, which in return you can control the height of the clip.”
Awesome, Tony. Nice one.
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No one told you you couldn’t hold a range. You just kept on telling everyone it had persistant in outs, when it doesn’t. it has a new feature: favouriting in outs… or sub clips really.
We aren’t denying you can i o f, we are pointing out that i o not remaining on the clip is pretty shoddy when it is used by a lot of people and it seems missed by a lot of people.
And saying there are more important things that need to be fixed first doesn’t alter the above, or the fact it doesn’t have persistant in outs. the vanish when you click off them. although you can find and re-call them if you used the sub clips feature iof.
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Now you see.
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But do you Jeremy? Do you?
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[Jeremy Garchow] “There’s much more that needs fixing than holding on to a range… Range based Project export another (without goofy workarounds, but even then it’s possible). “
Yeah, that’d be great. Just hit I, then O in the timeline, then File > Export.
Unless, of course, you click away… 🙂
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
I know that certain folks are trally sick of hearing this, but my point here, and in the other thread, is that X works very differently.
It’s that simple. Sometimes to gain a modicum of other NLEs functionality, you have to hit a few different keys and use the software differently.
You say that X can’t hold on to in and outs, the way I see it, is that it can, you just have to tell it what you want to hold on to. No doubt there’s a difference, and no doubt there’s subtleties. But the functionality is there, it’s all in how you use it.
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Yes, that would be good.
Right now you have to paste what you want in a new timeline, or compound the whole timeline and trim.
Even the i/o range would transfer to Compressor, it would help.
Jeremy
[Walter Soyka] “Unless, of course, you click away… :)”
Haha
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The persistent IO argument is getting a little like this now
https://www.youtube.com/watch?v=kQFKtI6gn9Y
Steve Connor
“Sometimes it’s fun to poke an angry bear with a stickl”
Adrenalin Television -
[Alex Hawkins] “Jeremy that was a very insightful post for me. You expressed well what it was you actually like about X. Thanks.”
No problem. X is far from perfect, but what it does do some important things really well, even of it operates differently in it’s wellness.
[Alex Hawkins] “And to be fair, media management is not a huge thing for us so I couldn’t say that I’ve put PPro fully to the test with this. 30 minute doco style pieces is the most I’ve pressured PPro with as far as media management goes and while it hasn’t really let me down I guess you could say I haven’t really tried to drive it to the wall either, with much larger projects.”
This is completely dorky and boring, but when I test an NLE, I’ll do an edit, archive the project to LTO, restore the LTO, and reconnect the media on a different machine. I will also start a project on a laptop/local storage, move it to our networked storage in the office, and reconnect.
Without getting too crazy, this represents typical workflow scenarios. Whatever NLE does this the best will factor heavily in to our decision.
Jeremy
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[Jeremy Garchow] ” Whatever NLE does this the best will factor heavily in to our decision.
“I’m curious, then – are you considering Avid? It sounds like you’re considering Premiere and FCPX, but haven’t looked at Avid. Is there a reason?
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Michael Hancock
Editor
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