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FCP 10.1.2 Where are you?
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As I said, performance and stability comes first. It’s not sexy, but it makes the experience of running the app that much better.
I’d just say that overall Audio must be high on the list of priorities for upcoming feature development. As was discussed in a thread below, I just don’t think the makeup of any software team like X must have makes it possible that performance and stability is everyone’s job. There must be parallel tracks of features in varying disciplines (audio, colour)- when that work is ready to be integrated is another matter.
Incidentally, someone on the fcp.co forums was contacted by Apple and asked some specific questions regarding colour correction. It seems like they were tying to get info for future development of the toolset.
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[Richard Herd] “Simple off-the-shelf compressors are measured in milliseconds. That’s 1,000 keyframes per second. Engineers and techs talk about serial and parallel loops, gain staging, and dynamics.”
Exactly. Honestly, there is not an NLE on the planet that I’d want to do a “real” mix in.
[Richard Herd] “But really…do we need that kind of audio detail in a video NLE? “
No. 🙂
[Richard Herd] “A little more mixology and that’s probably enough.”
Yes.
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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
Agreed. Many people’s needs could probably be served by an enhanced, but still relatively limited toolset.
Invariably, the X team must know that after a certain budget or level of production- audio is going out to a DAW no mater what. You’re not going to compete with that.
Where that “feature horizon” line is surely hotly debated. Some will always want more within the NLE.
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Alas, the screen cap is CS6 audio.
You can’t sidechain, not that I can find, if anyone knows how in the App, please post. I send to Audition for that. Pretty clever mixes are easy enough using subs and a bit of gainstage planning,
I feel like this is the competition for Apple. They have to compete with this ability.
Granted there are some clever mixes possible using Compounds and the dynamics effects in X are rippin’ cool!
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[Richard Herd] “But really…do we need that kind of audio detail in a video NLE?
A little more mixology and that’s probably enough.”
You don’t get off that easy, mister!
It’s FCPX and everything must be perfect. FCP Legend’s audio mixing was … legendary… especially the ASCII audio filters with exactly zero real time feedback or measurement.
And remember when Adobe Premiere Pro CS6 didn’t allow mixing with the mixer during an evolving edit since the keyframes weren’t clip based but track and absolute time based? And that this was how it worked until June 2013 when CC was released?
That was a good time.
I guess there were no professionals on CS6 either?
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[Marcus Moore] “I don’t see control surface support being out of the question.”
I like the way you think…
Mitch Ives
Insight Productions Corp.“Criticism may not be agreeable, but it is necessary. It fulfills the same function as pain in the human body. It calls attention to an unhealthy state of things.” – Winston Churchill
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I think any talk of bringing back any kind of Traditional Track Based format as the conversation has tilted towards is ridiculous!
Again, as some say “this is a whole new way of editing”, this is just not true! One of the best editing systems that has been around for years(Video Toaster) has worked the same way as FCPX has, which is now Tricaster. While there are visible lines that seem to form tracks, just as in FCPX you can move and put any kind of media anywhere in the editing window! Those who edit with these systems are of course outside the boundaries of those posting here in this forum, but Tricaster is used in high end production houses and Mobile Applications as well. Look up reviews and no where do you hear editors complaining…why?…because its so fast and easy to get content created!
Sure there are some things in FCPX that need a work around, but even those things are done with ease and quickness and FCPX makes up for it by how fast you can edit. Furthermore it is clear that some editors have not taken time to know and take advantage of all of FCPX tools to perform what they think the can’t. -
[Marcus Moore] “FCPX will continue to shed some higher-end marketshare and build a bigger base in the bottom half of the market for another couple of years.”
Agreed. I think that already has happened. And I think the “high-end” market-share is probably growing slowly now as so many ditched X when it first was release.
[Marcus Moore] “The only way FCP goes away is if Apple decides to walk away.”
Agreed again. Just another good reminder to know as many of these NLE’s as possible.
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
[Franz Bieberkopf] “But I can imagine moving from a stretch where there are 3 sound clips, to one where there are 11 – and suddenly your mixer controls switch. I think it is just fundamentally difficult to implement in a way that maintains the simple, direct, intuitive interface that the current mixer UI offers.”
Please pardon me, audio is not my forte — but how would you mix 11 simultaneous sources at the same time in the real world, with only 10 fingers or only 8 faders in a bank? Wouldn’t you do this with a series of automation passes?
Would you consider a track mixer and a clip mixer to be different things? It sounds like you’re using the former as a proxy for the latter, but maybe I’m misunderstanding.
Why would the UI have to be so significantly different? What if FCP X had a clip mixer (1:1 like your track mixer now), plus a roles (bus) mixer?
[Franz Bieberkopf] “That Apple kept “tracks” for Logic suggest that they see their fundamental value and use in time-based A/V editing applications.”
I think there are several possible reasonable explanations for keeping tracks in Logic — but I also would naively think that a DAW and an NLE could have good reason to be different.
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 -
[Jeremy Garchow] “You don’t get off that easy, mister”
Sooo wrong, man. I get off easy.
[Jeremy Garchow] “‘s FCPX and everything must be perfect”
In no way do I think it should be perfect, and by “perfect” I mean “a fully featured DAW, aka ProTools,” yet the audio in X needs to compete with Premiere CS6, with effects loops and bussing. And that’s about it. Granted, there are some very cool techniques with Compounding. Repating myself: Hoping for a Roles Inspector where Roles are inputs. We do not need no stinking tracks. Here’s more: we do not need no stinking keyframes!
[Jeremy Garchow] “Adobe Premiere Pro CS6 didn’t allow mixing with the mixer during an evolving edit since the keyframes weren’t clip based but track and absolute time based? “
Answer: No.
I have not keyframed audio since Sound Track Pro. Why? The compression was easy to get to.
[Jeremy Garchow] “the ASCII audio filters with exactly zero real time feedback or measurement”
Funny. Just Thursday last week, I opened up an old project (7.0.3) from a different editor and the audio was all wonky, so I figured, Hey I’ll just use the FCP Legend filter. What a mess! I did not use it…render? really? That’s so 2009.
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