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Interesting little series…
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The database features do sound stellar and very very useful, but is there any way to organize clips spatially in fcpx? In other NLEs, I like to use the layout of the clips in the bin for organizational and creative purposes, can I do that in fcpx?
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Totally agree. Being able to cycle through options so rapidly is fantastic for agency sessions. And Agency creatives love love Auditions. Plus, with the vast amounts of footage that is now the norm on any halfway decent shoot the tagging etc is a godsend.
I got on board at version 10.04, so I guess I missed a lot of the angst that came before. The timeline doesn’t bother me, t’s quirky but I’m ok with those quirks.
I like FCPX.
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[Aindreas Gallagher] “Dear sweet god – Charlie man, with the best will in the world… how do you keep a straight face on that one?
“Look, I know magnetism is maddening at first, and I know they need to do more work on Roles. Hell there’s a lot they need to sort out. No deal breakers, just feature parity (which is close) and polish/optimization. But man, I started cutting a spot in Pr the other day and It was driving me crazy. Not the fact that I don’t have all the KB shortcuts worked out or whatever, but all the stuff I just couldn’t do easily. Like change a clips volume? Fcp 7 and X hit CNTRL + or -. Pr? Head to the effects tab?! And the tracks. Not the fact it has tracks, but choosing mono, or stereo, or hybrid, and oops! my stereo clip is dual mono… so I need 2 mono tracks and I then need to figure out where to put them etc etc. Stuff I never had to think about in 7, and don’t have to in X. Lot’s of little things like that. you’re using Pr now, you know what I mean. The beauty of FCP “classic” is that you can do stuff in the timeline really easily. No opening tabs/bins/mixers whatever. And the same is true of X. Even more so really. Ya just gotta get to the point where it “clicks”.
Now, if you can’t find work using it, then I totally understand why you’d not want to bother. But once you get used to the timeline, (and I don’t mean that in a bad way) X reminds me more of working in “classic” then Pr or MC. No question.
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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
[Charlie Austin] “But man, I started cutting a spot in Pr the other day and It was driving me crazy”
what was the spot? I’m surprised to hear you casually recall bashing out paying jobs in PPro only days ago – you generally refer exclusively to X.
Not calling wolf or anything just wondering 🙂[Charlie Austin] “Like change a clips volume? Fcp 7 and X hit CNTRL + or -. Pr? Head to the effects tab?! And the tracks. Not the fact it has tracks, but choosing mono, or stereo, or hybrid, and oops! my stereo clip is dual mono… so I need 2 mono tracks and I then need to figure out where to put them etc etc. “
yes indeed Charles that is the common knowledge drum to beat on PPRo, even if one were to have just read about it and then regurgitate it
– I’m going to be honest, it hasn’t tripped me up yet.[Charlie Austin] “And the tracks. Not the fact it has tracks, but choosing mono, or stereo, or hybrid, and oops! my stereo clip is dual mono…”
again this feels like copypasta to me – I’ll tell you what PPro has Charlie – tracks – they are amazing.
It’s just the best thing.
[Charlie Austin] “The beauty of FCP “classic” is that you can do stuff in the timeline really easily. No opening tabs/bins/mixers whatever. And the same is true of X.”
yes, I really do love working with audio in X, so.. as much as you are of course knee deep with audio in PPro – how about say breaking out the audio in X, and finding those lovely sync indicators? – because that leads to fun.
Also – how is Magic Bullet working for you? for the last month or two?
Because I use MB all the time.
[Charlie Austin] “But once you get used to the timeline, (and I don’t mean that in a bad way)”
there is no bad way – its a ridiculous timeline Charlie. Every single second of the day, it makes FCPX even more of a white elephant than it has been in paid editing for the last coming on two years.
that is an empirically observable truth Charlie – because. there. are. no. jobs.
sincerely tho – enjoy it all will 🙂 – please consider it a personal hobbyist pursuit.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Jok Daniel] ” but is there any way to organize clips spatially in fcpx? In other NLEs, I like to use the layout of the clips in the bin for organizational and creative purposes, can I do that in fcpx?”
Nope. one cramped Avid super bin/scrubbing exposure area.
Apple, in their wisdom, decided to make editing a GTD (get things done) tagging application ala evernote say, with one exposing area for the keywords – clips and subclips are categorised into a semantic word tagging pool on the left event area, and tag queries are exposed, one at a time, at the event or keyword level, in the event browser on the right.it looks, and sounds, just super clever. It’s actually, possibly, fundamentally dumb with regard to an editor’s cognitive and spatial appraisal and understanding of the various assets, but Apple themselves felt very, very clever when they decided to do this.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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I never look for keywords in the Event browser anymore. It’s way too easy to just type in a couple of search strings to get to a clip or group of clips in an Event of 1000s. Or of course you can set up a smart collection for any search you’ll be visiting frequently.
I’ve also really taken to the method described recently where you tag elements in their name, such as JohnQuinLower3rd.GFX. By setting up a smart collection looking for the search string “GFX”, you instantly create a watch folder for any GFX element you import.
Love media management in X. LOVE. IT.
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[Aindreas Gallagher] “[Charlie Austin] “But man, I started cutting a spot in Pr the other day and It was driving me crazy”
what was the spot? I’m surprised to hear you casually recall bashing out paying jobs in PPro only days ago – you generally refer exclusively to X.
Not calling wolf or anything just wondering 🙂Uh… sounds like calling wolf to me. Shall I list all the gigs I’ve cut in X and finished broadcast/theatrical projects for? lol
I refer to X hereabouts because it’s an X forum. I’ve got a staff gig. Everyone here is still on 7, so when I’m on a project where I need to (easily) play nice with others, I cut in 7. When I’m on a “solo” gig, i cut in X. And lately I figured I’d dive into MC and Pr because, uh… I can. 🙂 I dove out of Pr and back to 7 on this last one because of the stuff I mentioned below.[Aindreas Gallagher] … yes indeed Charles that is the common knowledge drum to beat on PPRo, even if one were to have just read about it and then regurgitate it
– I’m going to be honest, it hasn’t tripped me up yet.
….again this feels like copypasta to me – I’ll tell you what PPro has Charlie – tracks – they are amazing.
It’s just the best thing.No, tracks are annoying. To me. When I’m cutting.
So, it’s not copy paste/regurgitation. Sorry. It is my opinion though. It was slowing me down to the point of madness, so I popped back into 7 (because i needed to share the project with others here) to finish it up.
I’m not saying Pr sucks, it doesn’t. The timeline functions are similar to 7, but it’s not the same as 7. At all. I need to be able quickly “mix” as i go along with a keystroke. Not grabbing keyframes or going to some random tab. Neither Pr or MC let me do that. 7 and X do. I’ll keyframe stuff for “fine tuning” but not while I’m trying to crank something out. It’s my style. Obviously others work differently.
[Charlie Austin] “The beauty of FCP “classic” is that you can do stuff in the timeline really easily. No opening tabs/bins/mixers whatever. And the same is true of X.”
[Aindreas Gallagher] yes, I really do love working with audio in X, so.. as much as you are of course knee deep with audio in PPro – how about say breaking out the audio in X, and finding those lovely sync indicators? – because that leads to fun.
I always break out audio in X. It’s not hard to stay in sync if you know what you’re doing.
[Aindreas Gallagher] Also – how is Magic Bullet working for you? for the last month or two?
Because I use MB all the time.
Don’t use it. Dunno if this can be totally blamed on X or the OS, but it sucks for those who do.
[Charlie Austin] “But once you get used to the timeline, (and I don’t mean that in a bad way)”
[Aindreas Gallagher] there is no bad way – its a ridiculous timeline Charlie. Every single second of the day, it makes FCPX even more of a white elephant than it has been in paid editing for the last coming on two years.
that is an empirically observable truth Charlie – because. there. are. no. jobs.
sincerely tho – enjoy it all will 🙂 – please consider a personal hobbyist pursuit.
“Meh. There are plenty of people getting paid to cut in X. When I use it, I get paid. 🙂 honestly, the same was true for FCP classic. Keep banging the drum though. 🙂
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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
It’s actually, possibly, fundamentally dumb with regard to an editor’s cognitive and spatial appraisal and understanding of the various assets,
This is very harsh and totally disregards the fact that plenty of us find this not to be the case. There was a thread on here earlier which highlighted the different ways in which people like to work, so if your argument is that X doesn’t have the same flexibility that editors are used to, then that’s something I’d certainly agree with it.
But characterising the underpinnings of X as being fundamentally dumb is very dismissive of the real innovation that does exist within the software.
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[Sandeep Sajeev] “But characterising the underpinnings of X as being fundamentally dumb”
absolutely not – there are tons of deeply smart things going on – I am only suggesting that opting for a non visual, non spatial semantic tagging pool for all your various video assets may in fact not be the most useful thing for an editor.
That no matter how smart and well thought through the execution, it might have been a dumb decision to begin with.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Charlie Austin] “tracks are annoying. To me. When I’m cutting”
mmm. I see. A commonly held view amongst editors there. But do enjoy FCPX 🙂
[Charlie Austin] “I need to be able quickly “mix” as i go along with a keystroke. Not grabbing keyframes”
because keyframes are hard. I find they give very exact control to the roll off coming off b-roll into an IV – I don’t understand how people can just go with dissolves.
I’m always using three keyframes at the break to bring the track down and then give it a long roll off into underscore. Dissolves don’t do it for me – never have.[Charlie Austin] “Because I use MB all the time.” – Don’t use it.”
you really should try it (well if you could actually get it to function in X) – its indispensable sauce for spots. Don’t leave home without it.[Charlie Austin] “Meh. There are plenty of people getting paid to cut in X.”
No Charles, there really aren’t.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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