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FCPX or Not?
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[Jeremy Garchow] “And without having to totally reshuffle your timeline when changes come or specs change.”
Jeremy, I’m not trying to be a contrarian, I just do not understand what you mean. Why do I have to totally reshuffle my timeline? All I have to do is reassign the channel out for any give track and it is done. If I have SFX on 7&8 but my client suddenly wants them on 15&16 all I have to do is a one simple click for each tack to reroute them. How is that somehow more difficult?
Maybe I just get what you are trying to say. I never have to “totally reshuffle” my timeline, even when delivery specs change. Am I misunderstanding you?
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[Chris Harlan] “Jeremy, I’m not trying to be a contrarian, I just do not understand what you mean. Why do I have to totally reshuffle my timeline? All I have to do is reassign the channel out for any give track and it is done. If I have SFX on 7&8 but my client suddenly wants them on 15&16 all I have to do is a one simple click for each tack to reroute them. How is that somehow more difficult?
Maybe I just get what you are trying to say. I never have to “totally reshuffle” my timeline, even when delivery specs change. Am I misunderstanding you?
“No, but for the deliverable, then channel 9 on your timeline is now 16 on your tape. I don’t work that way. If there’s a problem and the dupe house calls and says, channel 16 is screwed, now I have to know that 16 is now 9. Hopefully, X gets a visible and virtual patch panel just like this. It would be awesome.
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I run a facility with 16 edit suites. All of our editors are freelancers familiar with both Avid and FCP. None of the editors I’ve spoken to are interested in learning FCPX and I don’t blame them. We’ll be switching to Avid in the next year or two.
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[Jeremy Garchow] “No, but for the deliverable, then channel 9 on your timeline is now 16 on your tape. I don’t work that way. If there’s a problem and the dupe house calls and says, channel 16 is screwed, now I have to know that 16 is now 9. “
No, you just have to look at your channel output. But also, that’s what slates are for, and what standards are for. Studios and Networks, with no exception I know of, try to standardize deliverables across the board.
I really do not see an issue here.
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[Jeremy Garchow] “Correct me if I’m wrong, but you can’t layer tracks as they are fixed. You can only move the contents of the track to another track. You can simply flip flop a1 with a10, or v1 with v5.”
Why do you want to move full track if you can move individual clips?
That’s flexibility.
In the other hand (moving a full track could be very risky) you can move the whole contents at once, and the results are the same.
To manage more than one clip at a time, layered system uses “precomposed layers” that in the end are Tracks or kind of “Compound clips`” up to FCPX.[Jeremy Garchow] “[Rafael Amador] “Your example is like a kind of Downstream Key. Good.”
Mmmm kinda but not really? Here’s a picture of it for you. Look on the right side of the timeline. That’s a visible title under the video. Downstream keys happen after everything else (hence down stream):” I mean downstream-key, because I guess the titles are set on top of whatever picture is processed below. Well above as FCPX show it.
I guess is like a kind of titles-compound-clip, that you will need to open every time you need to correct something. It may be OK to have the titles apart when your editing begin making the titles.
i make them in the end, when everything else is ready.
Normally is one of the things (with the subtitles) that requires a few corrections.
(at least for my self, with my poor English 🙂[Jeremy Garchow] “[Rafael Amador] “FCPX just order things sequentially. Time is a result.
In FCP time is absolute. You set timing and duration by mean of editing, not with old fashioned slugs. ”The gaps (or old fashioned slugs, you call them) represent no difference than an empty space in FCP7. Except they have more purpose and you can easily set how long they are. They are trimmable, and allow clip connections. They are way more controllable than empty space on a timeline. Yes, they are required in the primary, but they make sense in X’s timeline and offer very simple control.”
Jeremy, when you know from before starting your editing, the duration, and where they have to go certain elements, why to process that way?.
Again, all this is an step back.
Is worst than in the Betacam times, when, on stripped tapes, we made back-ward edits.
rafael -
[Shane Ross] “My projects have tight deadlines, and strict requirements, so I don’t have time to learn a whole new way to edit, nor to figure out how to get this application to possibly do everything I need to do. Why they changed the way editing is done is beyond me. The way it does things is wrong for pretty much everything I do. And I don’t have time to fiddle with in the meantime and wait for it to eventually do what I need. “
My projects, hardly have a a tight deadline. In fact is my self the one who has to set the deadline to my customer for conforming (this is Laos :-).
I could have time to try to get more in deep in FCPX is I knew I could do better movies (more beautiful, refined and interesting) than with FCP, but I don’t think FCPX might help me on that.I’m thinking going AVID, as long as that AMA do not become a problem for me.
sure, i don’t gonna get in any kind of Avid storage system.
Rafael
PS: I’f I go Avid, expect for me many questions Shane. -
[Shane Ross] “it doesn’t allow me to export PROPER audio stems (ROLES tried to address this need…failed).”
Hey Shane. I’m curious how Roles failed to address exporting stems for you. I haven’t played with them all that much myself, so I’d like your input on what exactly is wrong with the Roles feature, and what it needs to work properly.
Andy
https://www.timesavertutorials.com
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[Andy Neil] “Hey Shane. I’m curious how Roles failed to address exporting stems for you.”
Shane says to not give advice on #FCPX to him as he’s never using the program again. Ever.
😛
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[Rafael Amador] “Why do you want to move full track if you can move individual clips?”
I was commenting from your post a few posts back about tracks as layers. You said tracks were layers, I said they weren’t (in FCP anyway).
And your question answers exactly how FCPX works.
[Rafael Amador] “Jeremy, when you know from before starting your editing, the duration, and where they have to go certain elements, why to process that way?”
I don’t think you need to now how long a gap needs to be. Gaps are very useful, although some see it as not so much. By the way, you said that you were going to Avid? Check this out, Avid has a gap system as well: https://forums.creativecow.net/readpost/335/17575
Jeremy
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[Jeremy Garchow] “I don’t think you need to now how long a gap needs to be. Gaps are very useful, although some see it as not so much. By the way, you said that you were going to Avid? Check this out, Avid has a gap system as well: https://forums.creativecow.net/readpost/335/17575“
That’s interesting, however, for my self, if is the application who sets the gap or is my who leave the space, is the same.
For me is basic to have a from the beginning an spatial view of every element, the position in time and the size (duration).
Jeremy, for my self, the gaps are as meaningful as the stuff already lied in the sequence/project.
The “White holes” is where there is the work to do. Once they are filled, I have my story-line. Then I start the finishing (B-roll, etc). there are no more story-lines going on.
Sorry I do not accept the “Secondary Story-line” concept. That’s an Apple invention.
An ITW where you use few B-rool shoots to cover the cuts, to call that “Secondary Story-line” is simply pretentious.
However that makes sense for example for a weekly TV program with a fix structure ; where the real stories (the contents of the program) are the “Secondaries”
Then is OK. You work your Secondaries compound them, and connect them to a Primary Story-line that is ready because doesn’t changes from program to program. Few adjustments and you may have everything ensemble in minutes.
That would be great. That’s really a time-saver and would eliminate repetitive tasks.
Happily I ran away
rafael
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