-
Re: After a year has perception of FCPX changed?
-
[Craig Seeman] “One person does not make a market.”
Craig, what part of “I” did you not understand? I never said my feelings represented anything other than my individual feelings.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Liam Hall] “I do see a change in their communications strategy lately, but they need to step it up and some if they are to win back the respect they held a couple of short years ago.”
At the recent Blackmagic show in NYC, Apple did an FCPX presentation and had a table and a real live Apple employee (the presenter) there to answer questions. Apparently this is a recent decision as others stated this wasn’t the case at the preceding west coast event. We’ll see if this is an ongoing change but it seems Apple FaceTime now includes a real in person Apple employee when to comes to asking about FCPX.
-
I . . . just like to paint things in broader strokes because I am not the only person who might read this. It’s just the area that . . . I . . . focus on.
-
[Liam Hall] “[Craig Seeman] “When you say the timeline isn’t conducive for complex editing and Event and Projects is ill conceived that shows a lack of understanding.
Maybe you have a definition of “complex” you assume is common. You should define and substantiate your position.
There’s nothing at all ill conceived about Events and Projects. Whatever shortcoming you don’t mention, it’s easy to prove its greater flexibility as I have done.
I responded with explanations. You’ve made generalizations.”
Sorry Craig, I’ve only got time for sweeping generalisations. I’ll try and write something detailed when I can – maybe start a new thread with it.”
I think I can help here, because this is my worry also with FCPX. I think the term “simple” should be replaced with “standard” i.e. an edit based on a linear storyline. You know? Where intercutting and montage advance a storyline that progesses from point A to point B.
Non-Linear structure that is cut for interplay of image and sound which does not rely on a traditional 3-act structure seems a bit more difficult in FCPX to my mind. I could be wrong here. Still these kind of videos often develope organically as the edit progresses. You have a general idea of what the finished product should look and sound, but it often changes as during the process.
Now I may be wrong here, but FCPX seems more aimed towards a pre-planned (storyboarded if you will) editing style. You need to determine primary storyline at the get go. Now this works well (and is somewhat essential) for traditional linear narrative — which is what most for hire work will involve.
However, I am curious to hear from FCPX editors how they deal with a more freeform type of work. I am sure the capability must be there, I just don’t know how it would be done in a magnetic timeline with a primary storyline structure. Anybody out there cut anything like I mentioned above in FCPX? How did you do it?
-
[Clint Wardlow] “Now I may be wrong here, but FCPX seems more aimed towards a pre-planned (storyboarded if you will) editing style. “
How so?
I hear about many people doing unscripted work in FCPX. Docs for example. News is another. Sports yet another. None of this is pre planned storyboard work.Keep in mind that the Project Storyline isn’t the only place one can edit. One can edit segments as Compound Clips in the Event Browser for example
The magnetic timeline is conducive to moving chunks around in my opinion.
I have heard some argue that narrative, which would be pre planned storyboarded, would be more difficult to cut in FCPX. I’m not sure of that personally. That does seem the opposite of what you’re saying.
There does seem to be a number of people editing short form corporate pieces in FCPX and those are often pre planned storyboarded and can actually be quite “dense.”
It may depend on what one’s definition of “complex” is. There certainly are some potential issues though. Personally I think complex audio editing is an issue when using dual mono or more audio channels. I also think there’s significant room for improvement for compositing on the Storyline as well but obviously that’s not the only form of complexity.
-
[Craig Seeman] “I hear about many people doing unscripted work in FCPX. Docs for example. News is another. Sports yet another. None of this is pre planned storyboard work.
Keep in mind that the Project Storyline isn’t the only place one can edit. One can edit segments as Compound Clips in the Event Browser for example
The magnetic timeline is conducive to moving chunks around in my opinion.
I have heard some argue that narrative, which would be pre planned storyboarded, would be more difficult to cut in FCPX. I’m not sure of that personally. That does seem the opposite of what you’re saying.
There does seem to be a number of people editing short form corporate pieces in FCPX and those are often pre planned storyboarded and can actually be quite “dense.””
I’ve done a broad mix of scripted and unscripted edits in FCPX as well as more organic pieces and it works fine on all of them, I have not felt that it is unsuitable for anything I have done so far. I know all us FCPX users KEEP saying it, but once you’ve learned it (and not just played with it for a few weeks) editing with it works as least as well and in a lot of cases even better than other NLE’s I have used.
Steve Connor
“Sometimes it’s fun to poke an angry bear with a stickl”
Adrenalin Television -
[Joseph Owens] “Like its “popular” to discuss advanced quantum mechanics and cosmology at parties without any qualifications or understanding of the field.”
What parties are you going to? ;0)
-
[Walter Soyka] “Not to resurrect the PIOP debate,”
Did someone say PIOP?
[Walter Soyka] “Working around this design limitation (or solving the problem, depending on your point of view) requires both a lot of developer work and a step away from the ideological purity of FCPX.”
Well, I guess that’s one view of it. For those who want to read on PIOPs, read this really long and involved thread. It’s really long. And involved.
https://forums.creativecow.net/thread/335/34096#34787
-
[Clint Wardlow] “I am not sure how I would get the same results with the same precision in FCPX.
“if you’re curious, I can show you a few ideas.
-
[Craig Seeman] “How so?
I hear about many people doing unscripted work in FCPX. Docs for example. News is another. Sports yet another. None of this is pre planned storyboard work.Keep in mind that the Project Storyline isn’t the only place one can edit. One can edit segments as Compound Clips in the Event Browser for example
The magnetic timeline is conducive to moving chunks around in my opinion.”
Yet all of these things that you mention do tell a traditional linear story of sorts. They provide a storyline that progresses from A to B (pre-planned or not).
I am also not worried about moving chunks so much as repositioning single independent pieces (which I do a lot).
Compound clips do work for some image blending, but more for images of equal lengths and not one lone image that may be contained over the entire length of a video (and is also tied to a secondary piece of audio).
I am curious, how precise is it to edit in compound? Can you do precision editing based on an beats in an audio segment? These are the questions I have about FCPX?
The one thing that does excite me now I have decided to purchase it, is that I may discover elements within that could lead to those wonderful happy accidents. That while X may not be able to to replicate some of the stuff I can do in FC7, I may learn some new editing moves that are not possible anywhere else.
Now that I have wrapped my mind around it…maybe using FCPX in conjuction with a more traditional track-based NLE (probably PPRO CS6), I might be able to create things that are not possible using only one NLE.
So here’s to the great unknown.
Reply to this Discussion! Login or Sign Up