Editing scenario

[Jeremy Garchow]

[Michael Hancock] “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?”

We’ve looked. I will admit we haven’t looked as hard as other suites, but we are looking.

Avid has awesome media management, and it is factoring heavily in to our decision.

There’s a few things, and we’d have to change some things around on our SAN to get it running properly.

We have a lot of moving parts, so it’s not an easy decision. I’m sure that’s what everyone is facing.

We will also look at Smoke, not necessarily as an offline, but maybe. We’ll have to see how that shakes out.

Jeremy

[Jeremy Garchow]

[Steve Connor] “The persistent IO argument is getting a little like this now”

Humor cures all ails.

Thanks.

Jeremy

[Jeremy Garchow]

[Oliver Peters] “And how is this better? I’m not criticizing – just counting all the extra steps for something that can be done with one keystroke to a track.”

Obviously, both you and Walter didn’t read my earlier posts.

I said the jury is still out if it’s better. I also said that some things take more moves, and some don’t. It’s a trade off.

You asked how it’s done, I am telling you a potential way. It’s up to everyone to decide.

This particular move.

Select the audio, move it out of the primary (command-shift-up), v to disable (clip goes below the primary). Alternatively, you could simply shift delete the clip out of the primary if you now that music is toast.

Find the new piece of music, add it to the timeline (q), and move it in to primary (with position tool).

Or you can simply overwrite (d) to the primary.

If your audio is not in the primary, you can simply use the replace command (shift-R or option-r), or add new audio as an attached clip, and disable the “old” audio.

It’s really not that hard or step intensive.

I’d be curious to see how you get along with Jim’s method.

What are you going to to do then?

Put music in a “fixed” secondary? Then what, the rest of your timeline won’t be attached to itself and all trimming won’t work on that fixed clip. You trim something before that music starts, and you will have to manually move anything in those long secondaires back in to place, one by one. There are currently no tools to work with Jim’s method, as cool as it is.

I’m sorry, I am really failing to see how it’s going to be better.

Jim, again, no offense. I am really trying to understand.

[Jeremy Garchow]

[David Lawrence] “Not a great way to work with music. Just sayin’.”

Not a great way, or an unfamiliar way?

[Jeremy Garchow]

[Walter Soyka] “You can remove sub-clip limits.”

How is that action any different than adding an F key to your i/o process?

Are you saying I am working with the limitations of the software?

Are you saying that even with subclip limits, I have to hit an extra key to remove those sub clip limits, and then those limits disappear?

I don’t have to hit that extra key in FCPX, does that make it wrong?

[Jim Giberti]

[Jules bowman] “Er, isn’t this revisionism? There is no FCX 1.0 They called it Final Cut Pro Ten, because y’know X is cool and apple are cool.
“

Actually it’s a typo.
It should have read 10.0
One thing I’m not concerned with is version numbers.

[David Lawrence]

Good one.

_______________________
David Lawrence
art~media~design~research
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[Jim Giberti]

[Jeremy Garchow] “In/out/favorite is small potatoes. I’m glad it’s even possible and when you sit down and actually learn to use it, you might see it’s really not all that bad.”

Agreed, while mildly annoying at times, hitting “F” is hardly a show stopper, by comparison to other deficiencies as you say.

[Jeremy Garchow] “Copy/paste attributes is one of those.

Multichannel audio editing is another.

Range based Project export “

Absolutely. I want the X team working weekends to get these and other fundamentals addressed. Like restoring round tripping to Motion. Please. Soon.

[Michael Garber]

Tony – Brilliant. Will definitely add this into my audio workflow.

Michael Garber
5th Wall – a post production company

[Walter Soyka]

[Jeremy Garchow] “How is that action any different than adding an F key to your i/o process? Are you saying I am working with the limitations of the software? Are you saying that even with subclip limits, I have to hit an extra key to remove those sub clip limits, and then those limits disappear? I don’t have to hit that extra key in FCPX, does that make it wrong?”

My point was that storing a mutable range of a clip, whether by favorites or by subclips or by markers, is easily accomplished in both apps — and yet just about everyone here preferred simply letting FCP7 remember the last set of points while cutting.

Let me turn the question around. Apple designed the software and could have included persistent/remembered/whatever IO points if they wanted to. Why might they choose not to? How is it better for the user to have their IO point decisions blasted away if they click off a clip without first making it their selection a favorite range?

Follow-up question — how long did it take you between launching the app for the first time and getting burned by this particular design decision? 5 minutes? With such a low Mean Time to First Burn (MTFB, not to be confused with MTBF), don’t you think this was the sort of thing that Apple heard about immediately in beta testing with real users?

I know I’m critical of FCPX, but there is a lot I like, too. I think the idea of clip connections is utterly brilliant. It makes some things different, but there’s a some design thinking and a real user benefit behind that difference.

I also understand that sometimes features are worth removing. I’ve even filed a couple feature requests asking for dumb or dangerous “features” to be removed myself (AE, not FCPX).

What is the benefit of not including remembered IO points, or what was the danger of including them, that made it worth overriding overwhelming user preference?

I’m with you that if adding this flavor of persistence would require huge development resources going forward, they would better spent elsewhere. But why was this particular design decision made in the first place?

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
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