Premiere or FCPX, still hating FCPX’s timeline behaviour

[Lance Bachelder]

Sure you’re right – I haven’t really cut in 7 for almost 2 years now but there is no comparison with CC and 7 as far as speed goes. One is 64 bit and uses the GPU brilliantly and the other… well 🙁

Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1

[Charlie Austin]

[Lance Bachelder] “I haven’t really cut in 7 for almost 2 years now but there is no comparison with CC and 7 as far as speed goes. One is 64 bit and uses the GPU brilliantly and the other… well :(“

Oh most definitely. Pr CC is very nice. Fast, responsive, etc. But still… those awful tracks just get in my way… 😉

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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[John Godwin]

Speaking as an old dog, I don’t think the point of the analogy is that old dogs can’t learn new tricks. I think it’s more that many of them don’t WANT to learn new tricks. Which is entirely up to them. But many times they’ll then diss the new tricks without really knowing much about them because, well, they haven’t taken the time to learn them.

One of my clients, who does his own rough soundbite cuts, when I showed him how the magnetic timeline worked just after FCPX was first released, commented “That’s great! Why didn’t it always work that way?” I think people learning to edit accept a newer (and/or different) process without preconceptions.

Best,
John

[Lance Bachelder]

“Very little learning curve, so no slowing down…”

Well put.

Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1

[Oliver Peters]

[John Godwin] “when I showed him how the magnetic timeline worked just after FCPX was first released, commented “That’s great! Why didn’t it always work that way?”

Except that it did, if you think of just the primary storyline without connected clips. Maybe more hidden and not as elegant, of course. In fact, Media Composer had a rudimentary form of that capability in its earliest versions.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[John Godwin]

I have only a passing acquaintance with media composer, but I can infer that 1) perhaps it was entirely too rudimentary (adequate tech not yet existing) or 2) the concepts of timeline editing then took a seriously wrong turn?

Beats me. I just was making the point that old dogs make their own choices. I really hated DSLRs, especially after having to actually shoot with them, but more power to the people who like them. And I never questioned their professionalism or that some talented people could turn out some really beautiful work using those tools.

I’m pretty pleased that the general attitudes here about FCPX have shifted from mostly horror to wary acceptance and anticipation, at least as I read it.

Best,
John

[Oliver Peters]

[John Godwin] “I have only a passing acquaintance with media composer,”

My point wasn’t just about MC, but also FCP “legacy” had (and still has) that capability. It’s just not the default operation.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[John Godwin]

I tried using it in FCP7 as few times and, as best I recall, the implementation was not remotely as functional as FCPX, what with everything shifting out of sync most of the time. So, I really never took to it. Secondary storylines have their awkward moments but by and large I find them immensely useful, and fast.

Best,
John

[Aindreas Gallagher]

[Tony Corapi] “I think some of the frustration for me at times working in the timeline is how connected clips behave vertically. I think it’s basically because the Primary storyline does not also move vertically ( up or down) so acts like a wall if you will. Above the Primary (usually reserved for the video but not always) clips always jump up out of the way because the the Primary is locked and they don’t have any other direction to go.So if if you have 2 connected clips A and B, if you want to extend the end point of clip A, clip B jumps up vertically in exact opposite direction I want it to go because now I have to move it right or edit the in point of B back to see the new end point of A. If I want to take the in point of B and drag it left A jumps up out of the way when I would rather have it jump down out of the way. Ironically if I put those clips below the Primary (normally where the audio goes) they behave the way I normally would expect their behavior. I think it would be helpful if you could use a modifier key let’s say holding the up or down arrow as your extending a connected clip to have the clips move out of your way in the direction you want.
“

for kicks – reading through that again (its really worth trying it) while attempting to put yourself in the space of any completely unaware, trained editor in 2010 is an interesting gag. If you really try it, its quite a read.
I still think the distance apple chose to travel with all of the basic logic and terminology of the timeline is an adoption impediment.
I’m not saying there’s anything wrong with the conclusions apple drew – its working for way, way, way too many people – but the degree to which people can now casually describe the multitude of live software editing reactions to any editor’s action in the X timeline is weirdly interesting. It’s awfully new.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Sandeep Sajeev]

We are looking for an expert FCPX ADULT movies editor . Great opportunity to become part of an established adult web company . Editor MUST be able to work on Motion/AE and GreenScreen footage . Plus should be able to create custom Authoring , trailers, credits etc for DVDs .

FCPX/Motion does have a great Keyer.

Have to say I’m a bit surprised that a skin flick would need someone in post pulling Keys…

And DVD Authoring? Who is still buying porno DVDs?