Speaking of FCP X editorial speed…

[Brian Seegmiller]

Oliver, I really do see your point and this discussion has been educational. The kind of fades and edits you want should be simpler to do in FCP X. Good luck. I have not tried 10.3 yet but hope audio lanes might make way for easier audio fades.

[Tony West]

Just kicking back around to the main point of his video, he wasn’t trying to show that he was fast in this one program (because he would be efficient in any program. He didn’t start editing when X came out) his whole point was he is more efficient in “X” then he is in tracks because of the way X works. Not because he learned this program and didn’t bother to learn the other programs that put him at the top of the game. Because of the program itself. The example he uses to show that, is cutting a 60 to a 30. I think that was the first time he mentioned speed.

“this is quite a good example of how fast I can be in Final Cut”

Then he goes about cutting the 60 down faster than anybody could in a track based program.

Many of us have to do that same thing. Go from 60 to 30 and even to 15. Even if all things were equal with assembling the same 60 in other programs X would run away with it in the end as this example shows.

You have put all of your creative juices into the 60 and now you just need to knock it down. Many times based on what the client is telling you they want. fun time is over at this point. You just need to knock it down, and I want to knock it down the same way he knocked it down.

[Dean Neal]

[Bill Davis] “I’m confused about one thing Oliver.

Seems to me the vast majority of my cuts in dialog driven clips will almost universally be made at natural stopping points or pauses in the dialog. I seldom cut to something else mid word unless I’m doing something like franken-byting.

In that context, what’s the point of a 2 frame audio only dissolve for normal dialog editing? Is it because of some issue with the signal to noise ratio of the audio recording where you’re trying to smooth out the sound of the background at the transition points?”

This has been actually for a change in this group – a beneficial debate (discussion).

Bill you have had some great points so far, but when you hear clicks and pops within FCP X in straight multi camera video only switches with Audio (some say its to do with Audio ‘cycles’ etc.) and frankly pops and clicks are inevitable IMHO when cutting dialogue anywhere except in perfect background silence… and even then the pickup points could still be dirty and need smoothing out.

Let’s not forget as well – those umms and ahhhhs that we hope the Producer dealt with on the shoot but are still there and are butted tightly against some amazing line of dialogue we must incorporate in the final cut. ☺

This latest update to X has us closer than ever to a fully rounded platform for audio. One thing I would suggest would fix this is enabling standard cross dissolves between clips in the new ‘Audio Lanes’ timeline view.

Of the 100+ Long Form TV shows I have now Produced/Edited using ‘X’ – I can tell you I have used the ‘Sound Only’ dissolve in 99% of them. The problem is… it IS true – it is a kludge.

The New ‘Add Fades’ is nice but it doesn’t give you the default overlap you may need between sound clips.

One thing I will say however – Give me the lack of having to repeatedly revisit Clip Collisions and Audio Track Assignments in other NLE’s….

However, some smoothing out (pardon the pun) of the Audio paradigm would be the final slam dunk for X…

Dean Neal…

[Bill Davis]

[Dean Neal] “However, some smoothing out (pardon the pun) of the Audio paradigm would be the final slam dunk for X…

Dean Neal…”

Fair enough.

I don’t edit much dialog – so I will bow to the expertise of those who do.

Happy Holidays.

Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.