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I think the time of the large tower are coming to an end – and the bloated software suits with it :-)
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[Shane Ross] “Copy and paste clip properties.”
This has now been implemented in 10.0.6 – and you can actually select which plug-ins you want to paste. Nice feature.
[Shane Ross] ” The ability to deactivate clips…keep them on the timeline but make them invisible. Or silent.”
‘Ctrl-B’ in FCP7 is now ‘V’ in FCPX and has been there since it’s initial release.
Jon.
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[Chris Harlan] “I’m thinking I’d go for this as my new bay.
https://www.npr.org/blogs/alltechconsidered/2012/12/03/166230794/the-next-wo...”
Awesome.
Willy Loman as a mobile office pioneer gave me a chuckle.
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[Bret Williams] ” It’s definitely more powerful than 7 in the audio Keyframe arena.”
Bret,
You obviously missed the audio discussion last week.
FCP7 has a mixer which you can control with a mouse or a control surface (and thus, multiple tracks simultaneously and real-time); the mixer adds key frames to volume and pan parameters.
Great feature, and serviceable implementation. I think it’s been there since 3 or 4.
Franz.
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I don’t think Apple will get rid of the tower. They have already kept the same tower design for 5 years, which means, they don’t plan on a major update, just sticking with what works. Now if they would have thought this way about software, we would all be happy.
Brent Dunn
Owner / Director / Editor
DunnRight Films
DunnRight Video.com
Video Marketing Toolbox.netSony EX-1,
Canon 5D Mark II
Canon 7D
Mac Pro
with Final Cut Studio Adobe CS6 Production -
You are correct Michael – here’s a nice rundown of the history and specs of TBolt:
https://www.2ality.com/2011/02/thunderbolt-code-named-light-peak.html
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I have a reason a tower is a good thing….I have six of them in a rack. Everything is inside. I don’t have room for a pile of tethered devices strewn about the server room. I don’t want the Mac in the edit bay….we have quite and comfortable edit rooms because the tower is in the server room. We tether SATA JBOD boxes to the SATA cards in the MacPros. We can share drives that way. We have a solid Gigabit Ethernet network that serves our needs to edit projects over the network from machine to machine. Media is on different systems and we can share the media across the network. CCOR in one room, edit in another, sound in another all using the footage on one of the computers.
Think compatibility. I love Sonnett, but along the way some devices become obsolete with an OS upgrade. So the card inside the Sonnett box might be compatible, but the Sonnett box isn’t so I have a big problem. Not picking on Sonnett….I like their stuff.
But Thunderbolt is new enough to the Mac community and these new devices are, well, new enough that building a six suite facility around them is quite risky and expensive.
I see the progression away from a Tower ending up with a pile of tethered devices that need to be near the Mac with compatibility issues and no one using the same hardware. Very hard to troubleshoot some of these things once the number of connections and devices goes up.
Yikes. Get me my MacPro!
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
[Rich Rubasch] “I have a reason a tower is a good thing….I have six of them in a rack. Everything is inside. I don’t have room for a pile of tethered devices strewn about the server room. I don’t want the Mac in the edit bay….we have quite and comfortable edit rooms because the tower is in the server room. We tether SATA JBOD boxes to the SATA cards in the MacPros. We can share drives that way. We have a solid Gigabit Ethernet network that serves our needs to edit projects over the network from machine to machine. Media is on different systems and we can share the media across the network. CCOR in one room, edit in another, sound in another all using the footage on one of the computers. “
Provided there’s a tower like computer with Thunderbolt, this won’t slow you down in this regard, it will be the same. As a matter of fact, not that you’d want to, but you could do this with a MacMini today.
We have a machine room, too. The nice thing about it (if we get tower like computers with TBolt) is that I can rip out what I need to take with me, and replace it fairly easily.
Jeremy
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[Rich Rubasch] “I see the progression away from a Tower ending up with a pile of tethered devices that need to be near the Mac with compatibility issues and no one using the same hardware.”
I see a bunch of rack mountable/stackable gear. Replacing things should be easier than opening the Mac. Recabling a facility may be as easy as moving Thunderbolt cables around (which will become easier with optical).
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[Jeremy Garchow] “Willy Loman as a mobile office pioneer gave me a chuckle.
“LOL> I’n not sure delivering the “a man is not a piece of fruit” speech from the back of a Bentley would be quite as effective, however.
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It’s a decent feature, and as I’ve been using FCP for 12 years, I was aware of the audio mixer an it’s implementation and features. However, recording keyframes live for me has never been that great. A little less precise than I like. Reminded me of the old analog days where we’d pot up and down and keep redoing it to hope to get it right. Alright, it’s a little more advanced than that.
But other than having a mixer, (the only way to do live audio in legacy), X is immensely a more powerful device. And as many have mentioned, a roles based mixer would be a neat addition in the future. Implementing a mixer in a non track based system is pretty tough. Roles is as close to tracks as there is.
For me, being able to actually SEE the waveform adjust up and down while I make changes to the tracks live and on the fly by adjusting them directly in the timeline is more powerful. I keep my eyes on the clips in the tracks and listen with my ears. In legacy I was constantly having to see the clip, then look for the corresponding track, then move over to the audio mixer and then adjust the virtual pot there instead of in the timeline which would of course stop if you started adjusting audio in the timeline.
Making and adjusting keyframes is mostly the same, except of course you can now create 4 keyframes instantly by dragging a range and then adjusting the volume. Huge time saver. And you can select clips while playing, and adjust their levels with keyboard shortcuts.
So I guess I see highlighting clips or groups of clips during playback and making keyboard adjustments on the fly or mouse adjustments on the fly, whether the playhead is even over them or not, and seeing their waveforms change as more powerful than hunting for the right track for the right clip on the audio tool to correspond at that moment to playback and attempt to adjust. The old method never did feel very natural to me and I was always stopping, highlight a group of clips (say VO) and making cmd+option L adjustments, then playing back and listening. I would use the mixer when trying to find an approximate level for a music track or VO track. A starting point usually. Then apply that level to all the clips, and then tweak from there. So X just took my methods that I found more natural, and allowed me to do them in real time without stopping playback.
Throw in all the new audio filters and tools that really work and are so much more visual than the audio filters in 7 and you really have a much more complete audio package within the app. Having to eliminate noise, or play with compression or loudness was hit or miss in legacy. I have found it to be very doable in X, and I’m not an audio guy by any means.
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