“Magnetic timeline” is a joke, want an option to turn it off

[Misha Aranyshev]

Sure. One way is to create a problem and when to come up with some clever and not so clever solutions. Another way is to not create a problem in the first place.

[Chris Kenny] “Actually, I’m saying there’s nothing inherently ‘non-professional’ about the magnetic timeline, and slapping a “don’t get it” label on people who say things that demonstrate they don’t get it.”

Fine. And I’m saying this feature is inherently “non-professional” because it is designed to solve the problem no one regularly practicing editing ever has. Casual users of editing software on the other hand make cuts with accidental flash frames and gaps all the time.

Both are opinions. The difference is the benefits of magnetic timeline for someone regularly practicing editing are yet to be seen. The benefits for a casual users are immediate. Occam’s razor.

[Chris Kenny]

[Michael Aranyshev] “Fine. And I’m saying this feature is inherently “non-professional” because it is designed to solve the problem no one regularly practicing editing ever has. Casual users of editing software on the other hand make cuts with accidental flash frames and gaps all the time.”

As an online editor/colorist, who sees a lot of other editors’ work before it has been extensively QA’d, I am quite amused at your assessment of the abilities of the average professional editor. These kinds of glitches — particularly single frames of black — are not all that rare.

But in any event, if you think Apple switched to an entirely different paradigm for sequence organization to prevent flash frames, you’re nuts. The magnetic timeline is about making the timeline less ‘brittle’ so editors can worry more about things like shot order and timing, and less about making sure clips play nice and don’t clobber each other.

Imagine if word processors worked in overwrite mode by default, and you had to be careful whenever you were rearranging or adding text to make sure you weren’t overwriting other text. People who worked with such word processors a lot would probably get pretty adept at doing that, but why should they have to? And would the existence of such systems really be rational cause to call systems that didn’t work this way ‘non-professional’?

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Digital Workflow/Colorist, Nice Dissolve.

You should follow me on Twitter here. Or read our blog.

[Misha Aranyshev]

[Chris Kenny] “Imagine if word processors worked in overwrite mode by default”

I don’t have to imagine. They did. It was horrible. When they were gone everyone celebrated.It is irrelevant though because time relates to written text in totally different form than to moving images.

As for the falling professional standards it is clients trading quality for costs. FCPX won’t swing it in any direction.

[Chris Kenny]

[Michael Aranyshev] “It is irrelevant though because time relates to written text in totally different form than to moving images.”

You keep making vague statements like this without grounding them in any specific critique of the magnetic timeline. I’m still at a loss with respect to how ripping by default in more instances is supposed to be a problem here.

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Digital Workflow/Colorist, Nice Dissolve.

You should follow me on Twitter here. Or read our blog.

[Misha Aranyshev]

It ripples

[Craig Seeman]

Copy, Command C
Paste as Connected, Option V.
Then Overwrite to Primary Storyline if you then want it to replace that part of the shot in the Timeline, Command Option Down Arrow

Yup a two step process which should probably be a one step process. There should be a Paste Overwrite single key combo.

There’s Replace, Replace from Start and Replace from End but those don’t work from Copy.

[Misha Aranyshev]

You left out Dele… er, Replace with Gap so make it three-step. As for New Replace I would trade all three for a good old F11.

https://forums.creativecow.net/thread/344/939

[Geoff Dills]

[Craig Seeman] ” I really have to question whether people are spending time to understand FCPX in various workflows rather than trying to get it to work like an old style NLE.”

They have to WANT to understand. What I see is a lot of extremely disappointed (rightfully so IMHO) people who were counting on Apple to continue providing great tools. So rather than open their minds to the possibilities of this software, they vent their anger, again rightfully so. So to try and argue how something works now is a moot issue for these folks as they WON’T be using this tool and are being forced to switch to another tool they’re unfamiliar with as well. I would just point out the new way you do stuff and leave it at that. And I for one love to see the venting. From day one I’ve told my colleagues they just should have called it something else.

Best,
Geoff

[Craig Seeman]

I thought you were asking about Cut and Paste.
Replace with Gap isn’t pasting a clip.

You can Paste a clip as Connected but not Paste Overwrite, but you can Overwrite from a Connected clip so it’s two steps. Overwrite from “clipboard” (a copied clip).

[Misha Aranyshev]

[Craig Seeman] “I thought you were asking about Cut and Paste.”

I was. Cut removes the clip from the timeline leaving the gap and stores the clip in clipboard. Paste places the clip stored in clipboard on the timeline at playhead position overwriting whatever happens to be there.