shortcuts

[Bill Davis]

[James Ewart] “Thanks Jeremy…that’s what I’d like to do. I’d like to leave P on all the time with one keystroke and let it remain so until such time as I need the magnetic timeline. For my first assembly I can do without it. When I start editing and trimming I would switch it back on.

Is there a way of leaving P “On”?

best regards

James”

James.

Be careful.

Essentially what you’re saying is that you have a choice of an automatic or a manual transmission. You can certainly learn to drive in “automatic all the time” mode if you so choose.

But can you do that and still master the thinking and reflexes needed to efficiently operate a manual transmission?

I’m arguing that magnetism is a VALUABLE editing mode in an environment where you can start to see editing as something other than free-floating clips on a linear track.

You can avoid it, or you can bite the bullet and embrace how it works – and perhaps find that there are quite a few circumstances where it’s actually a superior way to edit.

YMMV.

“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

[Jeremy Garchow]

[Bill Davis] “I’m arguing that magnetism is a VALUABLE editing mode in an environment where you can start to see editing as something other than free-floating clips on a linear track. “

For people “struggling” with the magnetic timeline, editing with the position tool on helps to slow down the timeline and bring it to a more familiar feel.

After a while, you probably won’t need it as much, but I find it’s a good intermediary.

For everyone that asks if the magnetic timeline can be turned off, the position tool gets really close. To turn it back on, simply hold the arrow tool and release. It’s easy.

[Don Smith]

Referring back to the original question about manipulating sound level don’t forget that you can hold Command while dragging the audio level and the dragging will ‘gear down’ for a more precise setting.

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