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Editing scenario
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[Simon Ubsdell] “This is one of the things I have being doing in FCP Legacy for years – CtrlB (or whatever else you want to map) toggles the visibility in Legacy (and Ctrl S toggles Solo) just as V toggles the visibility in X. It’s interesting that you prefer the “old way” of doing it rather than using Auditions ;-)”
It’s kind of the same.
The old way had the track spread out which I don’t like as much as X. I like the “option” to spread them out when I want, but I want it to default to one like X does.
Not to mention the old way was 32 bit and X is 64
I don’t have patience for 32 now that I have used 64
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[Steve Connor] “In down and dirty editing what can’t you do in FCPX that is vital for “Professional” editing that you can do in other NLE’s”
You cannot export a range.
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I’ll say it again. You can do tracks in X. The Jim Giberti technique works well.
The confusion is they aren’t called tracks. They are called “secondary story lines.”
The other important thing folks keep skipping is “P.” The letter P on the keyboard, turns of magnetism. It lets you “Place” the clips.
Oh yeah, one more thing: select a clip in the timeline and hit Shift-F, and the clip appears in the browser with the I and O marked.
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[David Lawrence] “For me, all the roadblocks I hit in FCPX feel like places where the designers weren’t paying attention. Either thru over-simplification, or by making narrow assumptions. Jim’s tracked timeline workaround is a wonderfully creative solution to a problem that a good design wouldn’t have created in the first place.”
lolcats
People seem to think fcpx is complete. It’s not.
I have said from the beginning, that the timeline is what is going to change about fcpx. But let’s look at what it does do well, professionally.
First, is media management. Once learned, fcpx has some very useful ways of keeping your media tidy, transcoding in the background while allowing you to work on the material as its transcoding, and the software switches to the optimized media when it’s complete. It allows you to move media around, fairly easily, and mount projects/events on other machines super easily. I allows the sharing of big swaths of media, but not duplicating that media into the event.
It has SAN Locations which allow a manual check in/out process that is, in my opinion, better than most NLEs in terms of a built in workflow. It’s right there in the file menu. What iMovie user gives a hoot about a SAN? How many fcp legacy users do?
Fcpxml, while still needing functionality, is already pretty decent. You can get to resolve, RCX, smoke 2013, and via through a bit of jockeying/paid apps, you can get OMF/fcp7 XMLs/EDL. Is that professional, or no? Bad design?
If you like it, then Event structure is very well thought out. It is useful, very powerful, and keeps thngs as messy or as organized as you want. It is dynamic and allows multiple descriptors per clip, and by its very design allows multiple “locations” of clips without actual duplication. This is very useful to me.
So, you can tell where the development time has gone. It has gone in to very professional features that iMovie converts will never use.
The timeline, needs more development, and in my opinion, it will probably get there. Apple even said they are working on it.
I mean this with all due respect, and I know adobe can take it, but have you media managed anything, or used any sort of interchange out with Pr yet? How about relink of avchd media, or any media for that matter?
These things matter to us in a “multiuser” environment, we switch users/projects and have offsite and onsite edits happening. Fcpx makes these types of processes extremely easy to share.
When we were talking the other day about the timeline being “just the surface” of an NLE, I wasn’t kidding. I spend most of my time editing in a timeline, but these back end features, the ones that will stop you in your tracks if everything isn’t lining up, are important to me and our business. While it takes a bit of getting used to, this part of fcpx works very very well and it is things that iMovie heros have zero use for. While I agree that the timeline needs some beefier controls, the backed of fcpx is looking to be rather robust. That’s important to someone like me.
[David Lawrence] “This disconnect between functionality and intentionality is why so many people are clamoring for persistent in/out marks. It’s not that you can’t achieve the same functionality, you certainly can. What people are asking for are tools that match their more specific intentionality. And it just so happens that this intentionality is one of the core actions in the editing process itself.”
I’m sorry man, but Fcp7 in and out marks aren’t even persistent. Fcpx’s are if you just hit f. I will argue this in to the ground.
Ins/outs don’t work like fcp7, it doesn’t look like fcp7, it actually works a bit better than fcp7, unless you use extended markers (which I do in 7 a lot). X allows actual persistent in/out, when 7s last until you hit another in, or clear in/out in the browser. So, really, what is your intention? Persistent, or sort of persistent sometimes? If hitting ‘f’ is too much task, than yeah, fcpx will never fit.
Jeremy
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[Carsten Orlt] “The idea of taking away the tracks I think! started by thinking about the problem that if you have 2 items on the same track and change the edit so they collide, now they move out of the way and the connection point stays intact while you can edit what you want, not needing to move clips to different tracks.”
Yes and it’s a brilliant idea.
[Carsten Orlt] “Disadvantage is that you can’t keep your track system visually organised. “
Huh? What do you mean? I use the Jim Giberti technique and I create several secondary storylines. Then I put FX, Foley, and Score on each secondary and I am sure to use Roles also. The next big deal for me is if X can assign color codes to roles.
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God I’ve a bunch of those in Legacy and a few premiere.
There’s a hidden preference in X called “make the clients agree.” Once you click that option it makes the whole process much more efficient 😉
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[Jeremy Garchow] “you can get OMF/fcp7 XMLs/EDL”
Can I XML to After Effects? The one thing that’s been very painful is getting footage into AE. (Paint Roto tool is what I need. If you know another option, I’m open to that too.)
Thanks!
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[Jeremy Garchow] “People seem to think fcpx is complete. It’s not.
I have said from the beginning, that the timeline is what is going to change about fcpx. But let’s look at what it does do well, professionally.”I don’t know about that. Timeline/editorial design is such a fundamental part of creating editing/compositing software that it’s the first thing you do, not the last. I firmly believe that what we have in X is exactly how it was intended, not a stop on the way to something else.
OTOH, I do believe it will change and improve, but only because the ProApps team has had their collective hands slapped by senior management after the continued flak they’ve been getting over the state of X.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Richard Herd] “Can I XML to After Effects?”
Foolcut broke in fcpx 10.0.3
AE CS6 has AutoDuck in it.
You need Xto7 to generate an XML that should import to AE cs6.
If you don’t have cs6, you can import the XML to Pr and dynamic link to AE cs5.5, or download proimport AE for free.
https://www.automaticduck.com/products/piae/
Or you can try using davinci to generate an XML, but that’s not optimal.
Adobe, as of today, does not support fcpxml anywhere.
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Here’s a timeline screen grab after all for Jeremy.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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