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Real World job on FCPX
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[David Lawrence] “I really, truly, cannot imagine any audio engineer wanting to work with the magnetic timeline. Feel free to disagree,”
I agree.
And none of them will want to work in FCP7’s horrendous audio capabilities either.
When comparing FCP7 to X, I would say that X has the useful advantage in terms of actually doing the work, magnetic timeline aside.
Since FCP7 doesn’t have busses I still don’t see how X is that much different, from a truly practical perspective, when it comes to audio. Since entire tracks can’t be adjusted in FCP7, what are you missing in X? I just don’t find FCP7’s audio capability to be all that flexible. At all. Now Media100? That was/is a highly flexible audio editor.
Jeremy
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Editing without a Preview and Program window?
clever?
innovative?
That’s going back to the Stone Age.[Bill Davis] “After all, this is the original tradition of the first FCP.
It was absolutely not the DigiBeta drivers who were responsible for it’s early success, it was all of the upstart DV folks who kept arguing that 25mbps was fine for a lot of practical video tasks.”
The 25Mbps refrained me long time from editing in a computer, but the first time I sat in front of FCP 2.5 (after 17 editing with almost everything) I thought that Apple has designed the best NLE ever.
Bugs, shortcomings, tricks and few things to learn about codecs, but no real learning curve.[Bill Davis] ” a time with FCP-X will also be the folks who figure out new ways of doing new things with the new toolset.”
The tool set and the way to use it may be different, but you won’t do “new things”.
There many things to invent on tools, but not is nothing on making movies.
rafael -
iggest fear is that the magnetic timeline will limit my ability to control these elements to the degree I want. ”
I do this kind of work too. My gut is that if this is what you need, you’ll find the magnetic timeline unusable. It really favors simple, linear assembly and doesn’t offer the flexibility you get with tracks for the kind of layered, non-linear projects you describe.”Even not working multi-layers, layers are fundamental.
My sequence layers are my “Finder” when I work in FCP. I put in any upper layer everything I want to have at hand.
I want my gaps back too. As my story has holes and I need to see them at first sight and in their real magnitude.
The holes is where the work to do remains. Where I have to concentrate my attention.
Don’t ask me making mental 3D exercises to figure out how my “time-line” would look in a “logic” (human) NLE (or graphic application (Apple should try magnetic time-line on Motion).
I want to be able to have many sequences and projects open at the same time.
I want a full customizable project in terms of settings.
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[Steve Connor] “It doesn’t ‘force’ you to edit in a particular way and the only limits to free form creativity are where they have always been – in the hands of the editor.”
If you don’t learn exactly how FCP X works you will be unable to accomplish any work. Is that not the definition of being forced to work in a particular way?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new tutorial: Prepare for a seamless transition to FCP X and OS X Lion
https://library.creativecow.net/weiss_roth_david/FCP-10-MAC-Lion/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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No more than any other piece of software
Steve Connor
Adrenalin TelevisionHave you tried “Search Posts”? Enlightenment may be there.
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Then FCPX is not for you, move on 🙂
Steve Connor
Adrenalin TelevisionHave you tried “Search Posts”? Enlightenment may be there.
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Mr. Weiss,
That’s just total and utter hogwash.
I had my copy for all of half an hour and I was able to take more than an hour of field interviews , overlay a timecode window burn, cut out selects – then turn that window dub around and email it to a client for their paper edit. The process took LESS time than it would have in FCP 7 precisely because I didn’t have to wait for the timecode to fully render before I could start cutting selects with it.
It’s an area where X performs BETTER than 7. Period.
You can argue that that’s “not real editing” all you like – but I doubt any one else here thinks that basic preparation tasks like this aren’t “real editing” and they can be done just fine in FCP-X with little or no training.
Look, just because it doesn’t do what you’d like it to do – precisely the way you’re stuck in doing it – your attitude that it’s total dreck for everyone else says much more about your personality at this point than it does about the product.
Sorry to sound harsh, but my personal opinion is that you have one, single, solitary note that you keep playing over and over and over again in this forum. Normally I kind of shrug it off, but sometimes your willingness to make these sweeping, unsupportable, attacks just seems silly.
We get it. You don’t like it. That’s fine. But at this point you’re sounding a bit like the grumpy old guy who nobody want to hang with because all he ever does is complain endlessly about his sciatica.
The way to stop the pain is to CHANGE SOFTWARE. You’ll feel a LOT better. Trust me.
BTW, remember how you took me personally to task for what you felt were my overly histrionic capitalizations?
What precisely makes snarky underscores any different?
Just sayin.
Peace.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Steve Connor] “No more than any other piece of software”
Not exactly.
I have been working with FCP for more than 7 years now. Recently,I started trying out Adobe’s trial version. PPro’s interface is a lot more like FCP 7. Infact a lot more similar than FCP X. I think i work faster in PPro than in FCP X simply because of this reason.
2.66 GHz 8-core, ATI Radeon HD 4870,
FCS 3, AJA Kona Lhi“The creative person wants to be a know-it-all. He wants to know about all kinds of things: ancient history, nineteenth-century mathematics, current manufacturing techniques, flower arranging, and hog futures. Because he never knows when these ideas might come together to form a new idea. It may happen six minutes later or six months, or six years down the road. But he has faith that it will happen.” — Carl Ally
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Rafael,
You missed FCP 1.0 to 1.5! Back at version 1, the software didn’t even support the AVID standardized JKL “transport” conventions of the day!
2.5 was a LONG way from 1.0 which is precisely why some of us are willing to wait to see what FCP-X will become at something similar to 2.5.
It it comes half the distance that the original FCP came over that early development period – it will likely change the entire game. Or not. Who know?
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Jeremy Garchow] “And none of them will want to work in FCP7’s horrendous audio capabilities either.”
Minor annoyances aside, I think you’d be surprised how productive FCP7 is for audio. I can do 80-90% of a complex mix right in the timeline. OMF out if I’m working with my sound guys or round trip thru Soundtrack Pro if it’s just me. Or if time’s tight, I’ll often just stay right in FCP. Could it be better? Sure. Horrendous? I don’t think so.
[Jeremy Garchow] “Since FCP7 doesn’t have busses I still don’t see how X is that much different, from a truly practical perspective, when it comes to audio.”
Well for one thing, you don’t have to deal with only one “track” that’s locked in ripple mode. That and the connected clip concept get the biggest laughs.
The metaphor of the open timeline functioning as a musical score especially applies when working in audio. Tracks are a natural way to organize channels of sound and ripple is the last thing you want as the default.
I really don’t think Apple’s thought thru sound with their new UI. I’m curious how they’ll solve multichannel mixing with only one track.
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl
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