FCP 10.1.2 Where are you?

[Richard Herd]

[Franz Bieberkopf] “frankly skeptical that Apple will even bother with it.”

&

[Franz Bieberkopf] “we’re talking about pretend software again aren’t we?”

I recall being very skeptical about About apple implementing PIOPs. I recall thinking it’s just pretend, and they won’t bother with it.

So I’m compelled to jump in at a certain place. Roles Inspector where roles are inputs is an easy solve for Apple.

Above I listed the pretend software Role Inspector grid, which included a fader, for those who likey.

[Franz Bieberkopf]

[Richard Herd] “I recall being very skeptical about About apple implementing PIOPs.”

Richard,

This is a great example.

There was a desire for a certain kind of functionality. The implementation – the details – mattered a lot. Some have said in this forum that PIOP are a poorly implemented feature.

That kind of assessment can only be made once it’s no longer pretend – particularly when you’re charting through a “new paradigm”.

Franz.

[Christian Schumacher]

What I miss when in FCPX is REVERSE MATCH FRAME which is directly derived from this trackless discussion but not yet mentioned. AVID and FCP 7 have it. PP CC will have it next. This is a core operation for many editors. You can workaround it with used ranges, timeline index and trim tool to read tc, but not as fast as using reverse match framing.

[Richard Herd]

[Jeremy Garchow] “the Legend of FCS3”

Here is the multiband compressor, in Legend.

And here is Audition’s.

Just sayin’. X gotta compete.

[Scott Witthaus]

[Richard Herd] “Just sayin’. X gotta compete.”

I say “no”. Just gotta go to an audio house! If I had to spend time to set that up, it would be more efficient for me to send it out and keep working on something else. Impressive, but not for me. I’m a video editor. YMMV.

🙂

Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter

[Richard Herd]

[Franz Bieberkopf] “Some have said in this forum that PIOP are a poorly implemented feature”

The details of the critique, if memory serves (always a bit dubious), were that workflows were started and maintained on on-going projects, then the implementation of PIOPs broke the previous workflow. So moving forward accessing old projects required an additional keystroke or two.

In spirit, you’re right on the dot, bolting on features to established workflows will definitely create unforeseen real-world problems.

Having said that. Risk/reward of (the imaginary software I’m calling) Roles Inspector would be a nice benefit.

[Shawn Miller]

[Richard Herd] “And here is Audition’s.”

Which is also available in Premiere Pro CC, BTW. The MBC in PPro CS6 ins’t half bad either.

Shawn

[Richard Herd]

[Scott Witthaus] “would be more efficient for me to send it out “

CMD-8 in X is very powerful indeed. But the stuff I’m posting about is already in PP.cs6 and was well used in Sound Track Pro. It’s not like these features are outside the skill set of the picture editor.

Just in case anyone with any power is paying attention to this pleb, I’ll say it again: Roles Inspector where the roles are treated as inputs into a mixer. 😉

[Richard Herd]

WOW! I wish I wish I wish for CC. Soon but not yet.

What about Dynamics Processor and side chain input, is that in CC (currently it is in CS6 Audition)? Just curious Since everything I output is crunched to -12 dB I spend quite a bit of energy gain staging the compression.

[Shawn Miller]

[Richard Herd] “WOW! I wish I wish I wish for CC. Soon but not yet.

What about Dynamics Processor and side chain input, is that in CC (currently it is in CS6 Audition)? Just curious Since everything I output is crunched to -12 dB I spend quite a bit of energy gain staging the compression.”

Unfortunately, no. The Dynamics Processor and side chain input are still only available in Audition… kind of strange when you think about it, really… I’ll submit a feature request.

Shawn