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FCPX may work, for some projects
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I know – I’m overstating for effect. But I think apple have changed enough of it in approach that it’s an application alright, its digital asset management with a very unusual automated timeline, I guess basically I’m way over the top arguing that it’s sufficiently altered in it’s dna so as not to qualify as, like, an editing organism. Its genes are too weird and sullied. Think apple as a mad scientist splicing things together. The island of doctor moreau for editing software.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Richard Johnson] “Thanks for the response Marvin. I didn’t necessarily mean that protools would adopt FCPXML but simply give it support. I’m not exactly sure how these things work and why Apple didn’t simply release an XML that was already a standard and compatible with other software. Really though, I don’t know much at all about XML protocols so it may not have been an option. “
There isn’t really some vendor-neutral industry standard XML format for moving video/audio sequences around. Earlier versions of FCP used their own format as well, for which third-party tools had to initially add support. FCP X’s radically different timeline structure would have made that earlier XML format extremely awkward for the new app, so Apple created a new one. Third parties seem to be lining up fairly quickly to support it. (Blackmagic, for instance, seems to be planning to support it in Resolve 8.1, which is due before the end of the month.)
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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I have my credit card ready for when they do!
“My Name is Steve and I’m an FCPX user”
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I’ll play.
The magnetic timeline may well be a superior convention in situations where screen real estate is at a premium and you don’t want arbitrary gaps between your pre-trimmed media import files.
And might become a superior rapid comping tool in the field precisely because of this.
In “fixed timeline” situations, there are far too many times over the past decade where I’ve had too little room to click on a gap and keystroke close it on the timeline – or when assets on adjacent tracks like composite tracks and titles have have prevented me from closing a gap.
On my Cinema display, not so big a problem. I can zoom in, trim the tracks that are causing the problem until the gap is clear in all adjacent assets, select the gap and delete it, then re-drag all the assets that originally prevented me from closing that gap into the positions they were in before I had to deal with the gap.
Magnetic timeline? No gaps unless I specifically put in a gap clip.
It defaults to what we’re all typically trying to do in the initial build of any typical assemble edit. Strings of scenes without gaps.
When we’re editing someday on iPads and it’s even harder to see those tiny gaps, the magnetic timeline could well become the best feature of the software.
Also the magnetic timelines ability to avoid clip collisions means when you’re moving blocks of scenes around, you’re never penalized by arbitrarily changing an already specified edit point because you’ve over-written that choice at the head or tail of a clip as in all other timeline implementations.
I struggled with the magnetic timeline at first as well. But nowI find it’s freeing me to move blocks of scenes around more freely, since there’s never a “repair” penalty for doing so.
That by itself is a big advantage over the FCP-7 workflow if your work in such that you have the option to tinker with scene order
FWIW.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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Aindreas,
Are you actually telling us after all months and months of posts bemoaning how horrible the software is that you actually don’t even own it and use it yourself – and that everything you’ve posted here has been based entirely on your occasional use of it in the local APPLE STORE?
Wow.
(I honestly hope I’m mistaking this situation.)
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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whats all this “us” paleface? I imagine you in the role of the accuser in court here bill, justice O’ Connor looking down on you with kind eyes.. just kidding.
read the post – seriously, sometimes I don’t think you read the posts at all – i have it installed bill, but my three and a half year old laptop is not an ideal environment. I’m saving up for a new system, meantime, I just like to feel it in an ideal environment, so I go and sit on floor three of the covent garden apple store at one of the tables and do workflow and play around where there are better processors underneath the app. It was because I was screaming about the chrome killing timeline performance for a long time… on my laptop. I wanted to get a feel for it in a more ideal environment.
I dislike this application but that doesn’t mean i’m not intensely curious about the workflow.
“stop using me as some overblown justification for a condescending attitude in group discussion”
nameless Irish supreme court justicehttp://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Aindreas Gallagher] “my three year old lappie barely supports the system, so I’m reduced to standing in london apple shops cutting on display imacs until the shop hands hover intimidatingly close.”
I actually wan’t new software that won’t work on older computers. In “most” cases that means they are advancing in major
ways with the software code. The high GPU requirements of FCP X is where some of the problems have come for users trying to run
it on older computers.FCP X: Type A
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[Sean Thomas] “Editing in X is like getting out of a 10 year old junker car with 200,000 miles and then sitting in a new Ferarri. Sleek, refined and FAST. Can’t get the whole family in there but it still works for some situations.”
Ferrari? More like an Arial Atom… exposed frame, no body panels, no windscreen, no roof… just a shell of a car waiting for the rest of the parts.
Mitch Ives
Insight Productions Corp.
mitch@insightproductions.com
http://www.insightproductions.com
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