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Philip Bloom Asks Seven Editors to Share Their FCP X Experiences
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[Herb Sevush] “But for X the problem still remains, how do you know what should be on the primary storyline when solving that mystery should be the aim of your work?”
That’s the question, isn’t it?
Another thing I find constantly amusing are statements like this one from Michael Friedman in the article:
[Michael Friedman] “It’s hard to think of ways to convey feelings about software. So, I am merely trying to express the small sense of elation that I felt when I realized the upside of losing my trusted track framework. I felt encouraged to experiment more. I felt slightly liberated in my timeline edits.”
Here’s a pro tip that works for all track-based NLEs – duplicate sequence. You’re welcome. Go crazy. Experiment to your heart’s content. Digital media solved the experimentation problem decades ago.
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
Well David, if we’re gonna get crazy and actually quote some of those reviews, let’s take a look at this from Mr. Friedman:
It’s very hard to break sync with the default settings in FCP X. But, as much as Apple is trying to prevent us from losing sync, my editing habits are formed around breaking sync constantly, and then repairing it. That’s how I edit. Broken sync indicators often help me track my edits in progress.
After months of editing with FCP X, I am still aware of the ‘missing tracks’ but now, instead of driving a car, (bear with me, I am jumping metaphors) it feels more like skiing or surfing. There’s a freedom, a flexibility. Now, ‘tracks’ seem out of place.
OK, I’m still waiting for the explanation of how he works without the sync indicators. This is of interest to me because I work this way all the time, my day isn’t made till I’ve broken sync at least a dozen times. So how does he get around it … well I don’t know, apparently he’s out surfing the audio waveforms having an epiphany.
Times up, I have to put my skiis back on the rack now and go click my sync indicators so I can print my show to tape.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “OK, I’m still waiting for the explanation of how he works without the sync indicators.”
Yeah, I was curious about that too for the same reasons. It great he’s having fun, it just wasn’t clear if he still misses them or not with his new workflow.
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
[David Lawrence] ”
[Herb Sevush] “But for X the problem still remains, how do you know what should be on the primary storyline when solving that mystery should be the aim of your work?”That’s the question, isn’t it?”
Indeed.
[David Lawrence] “Another thing I find constantly amusing are statements like this one from Michael Friedman in the article:
[Michael Friedman] “It’s hard to think of ways to convey feelings about software. So, I am merely trying to express the small sense of elation that I felt when I realized the upside of losing my trusted track framework. I felt encouraged to experiment more. I felt slightly liberated in my timeline edits.”
Yup.
Here’s a pro tip that works for all track-based NLEs – duplicate sequence. You’re welcome. Go crazy. Experiment to your heart’s content. Digital media solved the experimentation problem decades ago.
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Would you be happy if 7 out of 7 dislikes FCPX?
Leo Hans
Editor AVID – Final Cut Pro
https://www.leohans.com -
[Leo Hans] “Would you be happy if 7 out of 7 dislikes FCPX?”
No, that wouldn’t teach me anything. I’m fairly happy with the diversity of this forum, where Jeremy, Craig, Steve, Tom and others can praise X without going overboard, and then Bill can come up with a crazy metaphor that gets me steamed up all over again. Plus we have Aindreas.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “But for X the problem still remains, how do you know what should be on the primary storyline when solving that mystery should be the aim of your work? “
I kind of just see that primary storyline as V1 with audio.
When I cut something, I have in my head what I want it to look like before I even start.
I just have to get what’s in my head on that screen.
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[tony west] “When I cut something, I have in my head what I want it to look like before I even start.”
Which is why X works for you.
Many times I have no idea what the story will look like. It is precisely these times that keep me interested in editing.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Herb,
Perhaps I was too emphatic with my reply. I am sorry about that.
I think the interesting part is to know how seven editors ended liking FPCX. Then you can share or not their thoughts on pros and cons of the software.
If you read about people dropping FCPX all are the same: It’s iMovie Pro. What do you have to learn from that?
Leo Hans
Editor AVID – Final Cut Pro
https://www.leohans.com -
[Herb Sevush] “[Craig Seeman] “From my own “travels” that seems to be the shift with 10.0.3. I see very few haters.”
In my travels I meet a large number of editors who simply think Apple is dead as far as pro editing goes, they laugh if you even mention X. For many X is not even part of the equation, it’s not even worth hating.
“My general conversations in facilities and with other editors over the last few months echoes what Herb is saying, even though I hang around here with the hope that FCP X will become, for me, that long-lost crazy uncle.
One of the things I don’t understand is the whole “making editing fun again” meme. I mean, I’ve been doing this for a long time, and it has never not been fun. Maybe that’s because I’m a producer/writer, as well, and the NLE is/should be transparent for me, as if it were a fancy word processor.
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