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Range-based keywording: unique to FCP X?
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[Bill Davis] “I still think that’s too perjorative and too harsh an assessment.”
I don’t see that, but OK. Besides, why should I cut one of the largest tech companies in the world – gifted with money and really bright software engineering folks – any more slack than I would Avid, Adobe or anyone else?
[Bill Davis] “Do you really think the FCP-X teams focus was so caviler the they didn’t realize that by choosing to strip the code back to zero – that they were going to piss people off? Do you think that if they could have seen a way to keep all that Legacy was and still build what they wanted X to be that they would have?”
Huh? I don’t believe I ever said that. Seems like you are inferring it. First of all, could they have written a 64-bit update from FCP “legacy”? Sure. Absolutely, Avid and Adobe have done just that. Did they choose to “re-imagine” an approach to editing and that required some trade-offs? Yes, I believe that’s the route they took. I believe they are banking on the slow replacement/upgrade schedules of most shops to buy them time. Most people will continue on FCP 7 for at least another year to get serious work done. So it’s a calculated risk.
[Bill Davis] “X is literally driven by it. It’s not a bolt-on – it’s the core of the whole program.”
While that may be true, it still doesn’t change what I said, which is that the benefit of this is ONLY INSIDE the open app, events and projects. This doesn’t translate into asset management software, which is what you and others keep trying to imply. You may well be correct, but please show me any evidence of this. So far, what I see, is no more advanced than what Avid has been doing since 1989 and quite frankly is less than what’s there in MC6 today. The database structure is simply a lift from Aperture applied to video. It may work with 1,000s of pictures, but let’s see if that same approach works with 1,000s of projects and 100s of 1,000s of video clips.
[Bill Davis] ” think they are. The first level build is leaner, requires fewer keystrokes to do more functions, and presents new rapid and agile editing functions than I believe Legacy did. I know that many editors were exceptionally fluid and fast in Legacy – and that over it’s decade, it had a lot of great stuff for the “power user””
For every more agile function, there are others that take 2 or 3 extra steps or workarounds to achieve. Not better. Not faster. Just different. Again, you are arguing the editing points and ignoring the actual question – asset management.
[Bill Davis] “Granted I was stuck in DV with a Quadra 840 AV with Legacy V1,(IIRC), and computers have come a long way – but here I am with a laptop and firewire drive editing HDSLR footage faster and delivering work faster with X then I ever managed with my MacPro and Studio 3 after 10 years of solid practice.”
Hmmm… Well I’ve had similar experiences, although I was using FCP1 with a CineWave and cutting HD, so DV would have been a blessing 😉 In any case, I don’t necessarily come to the same conclusions.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Hi,
Circling back to this issue. Did a bit more testing with media connected and disconnected. Note, this is all media from 5Ds, where I’ve added reel numbers and TC using QtChange or from Alexas with embedded reel numbers. Both types of media are imported as files, not from cards.
[Jeremy Garchow] “But that’s a function of Xto7 as it probably grabs the reel from the QTs (or FCP7 does, but my guess is Xto7 does it as it’s controlling the XMLs).”
Actually, I believe it’s a function of FCP 7. If you run Xto7 with no media connected, and then mount the media drive when you bring the XML into FCP 7, the conversion is fine and both reel numbers and timecode come across. That’s because FCP 7 is reading both from the connected media. The interesting gotcha is that if you import the XML into FCP 7 with the media disconnected and not relinked, you DON’T get reel numbers OR timecode. TC count is simply using a frame offset value starting at 00.
What appears to be happening is that FCP X spits out a clip name with a frame offset value. That’s converted in Xto7 and then FCP 7 attaches the correct TC based on this offset as well as a reel number, because it is reading it from the media file itself when it relinks.
The moral of the story is that cannot generate a correct EDL from X by way of Xto7 and FCP 7 when the media is disconnected.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Thanks, Oliver.
It probably is a function of QT as AVFoundation obviously does not have that function quite yet.
Kudos for doing the homework.
I know that 7toX requires all files to be online, does Xto7 not have the same requirements?
Jeremy
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[Jeremy Garchow] “does Xto7 not have the same requirements?”
Didn’t seem to. I generated an FCPXML from X with media connected. Exited and unmounted the drive. Brought that FCPXML into Xto7 and saved an FCP 7 XML. Then mounted the drive, launched FCP 7 and imported the FCP 7 XML. Media reconnected and reel and TC info was there.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I know you said if media was offline the information didn’t come in.
If you import an XML to 7 that’s offline, save and quit. Reopen 7 and reconnect, does the info show up then?
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[Jeremy Garchow] “If you import an XML to 7 that’s offline, save and quit. Reopen 7 and reconnect, does the info show up then?”
Haven’t tested that. Something for later if I get a chance.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Thanks, Oliver.
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[Jeremy Garchow] “If you import an XML to 7 that’s offline, save and quit. Reopen 7 and reconnect, does the info show up then?”
I was able to test this now. When you reconnect, you initially get the “attributes don’t match” prompt. If you continue anyway, then it relinks and restores the proper TC and reel numbers based on the embedded media clip metadata.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Death to QuickTime. All hail QuickTime.
Thanks, Oliver.
Jeremy
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I’m with Jeremy. QuickTime is the worst media container, except for all the other ones.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
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