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Great demo of all new Premiere Pro features coming next month
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[TImothy Auld] “What he said. Recognizing that I could be wrong (yes, it has happened) I find FCPX to be cumbersome to work with in the situation I described in my post. Not undoable certainly – you can find workarounds for anything (I did it for years with Legacy.) If I had a music video or an orchestral piece to cut I would do it in FCPX without hesitation.”
Open audio components, select range, copy, paste.
Or paste as connected.
I’m confused as to why this is such a deal breaker, or why this is any harder than anything else.
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I’m sorry, Jeremy. It’s just not that simple. By the time you “open audio components, select range” I have completed my edit in the timeline.
It’s as simple as setting and in and and out. I do not have to open anything.Tim
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And I also do not have to copy and paste anything.
Tim
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Shift-e, set in and out, copy, paste.
It’s no harder, most likely, you’re editing with components open anyway (at least I am).
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[TImothy Auld] “And I also do not have to copy and paste anything.”
Even easier
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[Jeremy Garchow] ” Shift-e, set in and out, copy, paste.
It’s no harder, most likely, you’re editing with components open anyway (at least I am).”
How many more steps in Shift-e, set in and set out, copy, paste than mark in mark out?
Tim
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[Jeremy Garchow] “That’s the easy one. Assuming (just assuming) you can live with out those:”
Sync indicators – never leave home without ’em.
[Jeremy Garchow] “Insert edits in to what and where?”
Sometimes it’s a matter of cutting to a different angle’s audio and I understand this is fairly analogous with audio components copy and paste. Other times I’m cutting into my dialogue track from a non synchronous source – from either a normal clip or multiclip. Creating a”frankenbite” using the modern vernacular.
We had a thread here a few months ago with you and David Lawrence going round and round about this, and even if the X way of doing it works, it doesn’t work better. So the question I have to ask is why re-train to use a new method that is, at best, equivalent to what I’m doing now?
And, as a reminder, this part of the thread was started with the claim that FCPX was “hands down” better at cutting multicam. I had always assumed this was true until I started working with Ppro. Now I’d be happy to learn why the multicam feature of X is better than Ppro from someone who can actually explain it to me.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[TImothy Auld] “How many more steps in Shift-e, set in and set out, copy, paste than mark in mark out?”
We must be misunderstanding each other.
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Indeed, we must be.
Tim
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[Herb Sevush] “And, as a reminder, this part of the thread was started with the claim that FCPX was “hands down” better at cutting multicam.”
I hear that. I’m certainly not making that claim. Whatever’s most comfortable to climb the mountain, I’d say to wear it.
[Herb Sevush] “Other times I’m cutting into my dialogue track from a non synchronous source – from either a normal clip or multiclip. Creating a”frankenbite” using the modern vernacular.”
See, this is what I’m talking about. I cut dialogue all the time. I frankenbyte all the time. There is no way that this is not possible in X. It’s easy in either primary or connected story lines.
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