FCP-X: Thinking Differently?

[David Lawrence]

[Andrew Richards] “The context ought be displayed when you drill into a compound clip. You shouldn’t have to choose between working a fine edit in context and retaining the effects applied to a compound clip. I still like to concept, but it is too limited today to be workable.”

One way it could work is instead of switching context, they simply expand in the timeline. Like how the ^V Show Video Animations command works. The Avid also does this with effects nesting.

[Andrew Richards] “I agree in general; I think there needs to be a way to visualize and manipulate whole audio channels in aggregate. I’ve written about my idea for how this could be done a couple of times. Of course, it the here and now, none of that is available.”

Totally agree with the basic ideas in your posts linked above. The idea of using metadata to assign track definitions in conjunction with a fully customizable UI could be amazing. I’ve been thinking about this a lot. What would a hybrid UI look like that allowed the user to mix and match the characteristics of both the magnetic timeline, and an open track-based timeline based on needs? I think it’s totally possible to combine parts of both and get something insanely powerful. If I get some time, I’ll try to mock up some ideas I’ve been toying with.

[Andrew Richards] ” think the concept of trackless is good, if very roughly executed this first go round. I think the advantages of trackless don’t have to exclude the advantages of tracks (even if the present execution does). I like the idea of the system being aware of explicit media relationships that can be exploited to revisualize the interface according to the task at hand. I think the guts necessary to support such a thing are there in FCPX.”

Totally agree here too. I actually have less a problem with tracklessness than I do with the constraints of the object rules and behaviors. If there was better consistency, less hierarchy, more flexibility with how relationships can be defined and the ability to turn ripple off without using slugs, trackless could be great. Now let’s say there can be multiple primary storylines. They could essentially function as tracks depending on your needs. There’s a ton of possibility if Apple hasn’t boxed itself in.

The reason I mentioned DAWs was to encourage thinking about the magnetic timeline in the context of music creation, spotting and sound design. With music and sound, fixed ripple mode editing can actually be dangerous; and needing objects to fill empty space is cumbersome. Since we no longer have Soundtrack Pro for round-trip mixing/sweetening, I’m very curious how Apple will address audio, a place where open tracks still make a lot of sense.

_______________________
David Lawrence
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[Chris Harlan]

[Andrew Richards] “I agree in general; I think there needs to be a way to visualize and manipulate whole audio channels in aggregate”

I’ve been thinking about how you could quickly recognize types–dia, sfx, vo, mu, m&e, etc.–in a trackless timeline, and I wonder if color-coding might not help. I could probably adapt more easily if all my VO were teal, and all my sfx salmon. I’m not sure how much I would actually like it, but it could certainly aide in bringing clarity to a trackless timeline.

[Chris Harlan]

I’m not sure you understand the irony of what you posted. In this particular scene, Kane’s wife has given an absolutely abysmal premiere operatic performance. The audience is appalled by her. Stage hands are making making hand-to-nose “she stinks” gestures. In spite of this, Kane refuses to outwardly acknowledge the obvious failure, and claps hard and loud, with very deliberate, angry strokes, all the while being eaten away inside by what he internally recognizes as a stunning defeat. Look at his eyes.

If you did recognize the irony, well–wow; more power to you!

[Andrew Richards]

[Chris Harlan] “I’ve been thinking about how you could quickly recognize types–dia, sfx, vo, mu, m&e, etc.–in a trackless timeline, and I wonder if color-coding might not help. I could probably adapt more easily if all my VO were teal, and all my sfx salmon.”

I’ve wanted to be able to color code timeline items for a long time, well before FCPX. You’d think it would be a trivial thing to enable. Then again I’m not a programmer.

Best,
Andy

[Chris Harlan]

[Andrew Richards] “I’ve wanted to be able to color code timeline items for a long time, well before FCPX. You’d think it would be a trivial thing to enable. Then again I’m not a programmer.
“

Very advanced color-coding is available in a number of DAWs. Why it hasn’t been more prevalent in NLE interfaces, I don’t know.

[Andrew Richards]

I was primarily referencing the “slow clap” meme (that gif is often used in forums as a sign of respect), but I thought it would be an ironic image given the early references to Kane in this thread. My intent was to applaud Jeremy’s experiment and I thought Kane was indeed an ironic figure to show. I didn’t consider the context of the film, so now it is even more meta.

Best,
Andy

[Chris Harlan]

LOL. Funny how memes can change. And–irony upon irony–the relative understandings of what that clip means seems to mirror the dichotomy happening on this forum.

[Jeremy Garchow]

[Andrew Richards] “I’ve wanted to be able to color code timeline items for a long time, well before FCPX. You’d think it would be a trivial thing to enable. Then again I’m not a programmer.”

This is all under the assumption that Apple isn’t going to change anything in terms of trackless design. It assumes we are “stuck with it”‘ at least for a while. So, a few thoughts:

Putting audio in secondary story lines, sort of makes “tracks”. Take a good look at the screen grab I posted yesterday. I am not saying it’s perfect, but I am just trying to work with what we have for now.

The timeline index is going to be, or perhaps I should say could possibly be, a really fast way to assign track like metadata. Also, as I mentioned in this or another thread, potentially we can also create a submix applied just by metadata. What I mean by this is if you have a 5.1 + stereo deliverable, you can assign all tracks to stereo, and then break up the individual parts to their respective channels, all through metadata, all without touching the timeline. Tracks will be irrelevant. Upon export, the subsequent channels with be written in to the QT file.

Instead of making separate timelines for each mix, you can assign each clip to have one or multiple output configs.

Also, if you refere back to my “Federline Tribute Timeline” FCPx already seems to color code different parts of media. Generators are orange, video blue, audio green, compound clips are purplish. I am not saying that it would be impossible to have separate color coded items, but it might fight with the current design.

Also, after running through the exercise, I realize that secondary story lines might be a really good way to visually organize the timeline, even more so than compound clips.

Just some thoughts.

[Jeremy Garchow]

As promised, here’s the timeline with connections. Sorry for the delay, I was out last week:

fcpx_federlinetribute_partial_connections.png

Jeremy

[David Lawrence]

This is great, thank you Jeremy.

Here’s the big problem this demonstrates:

1) Compositing still works by layering from the top down.
2) Clip connections can only be made to the primary storyline – the base layer.
3) If you turn composite groups into compound clips, you lose the ability to edit their elements in context.

Everything must be in relationship to the primary storyline, or hidden in its own separate world.

Ouch.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl