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still driving me nuts
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Alright, here is how I describe stuff:
1. Library — Name of show, feature or commercial
2. Events — Bins which will be based on scene, not just just scene number but a brief description of scene as well
3. Project — Spot, reel or part of show. Example would be, night at the dinerKeywords are exactly that, smart collections used to find clips faster and easier.
Now, my head will stop spinning.
Back to other things like watching Jerry Springer, a great show. 😉
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[Steve Connor] “Good grief, it’s just a name, there are many things to think about in this business, what Apple decided to call a timeline isn’t really one of them.”
Bingo. I just don’t understand why folks are so bothered by names. Let’s see, I could use FCPX because (for me) it is faster and more efficient, or I could go back to using AVID because it uses all the names I learned long ago… because names are more important than making money.
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[Mike Warmels] “Thinking about story, structure and pace is crucial, but I want my NLE not to be an obstacle. I don’t want to lose precious time on pressing buttons. I want to be able to change, shape, try, form and shape. So speed in trying and shaping IS important, I want to see if it works or how it can work better.”
This is precisely why I choose to use FCPX over AVID or Premiere. Like naming conventions, it should be very clear that we each have our relative preferences and working styles. No different from the days of the FCP legacy / AVID wars.
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[Aindreas Gallagher] ”
jesus christ please.”Sorry Aindreas, I can’t help you there.
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[David Roth Weiss] “Sorry, but that’s pure BS James. Nomenclature in this business, like standards, was designed so that individuals all over the world can communicate accurately, period, end of story.”
David, I think we can both agree to disagree without referencing bovine ordure.
I’ve always adapted to what I personally consider is a better tool of the trade if it allows me to work faster, better and more creatively. Nomenclature is important, but not really relevant in this case as I just translate for those few who need it, and the rest (the majority) don’t care. I can’t speak for anyone else in this business, but part of my job has always been to translate; it’s just not that big a deal.
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[David Roth Weiss] “Sorry, but that’s pure BS James. Nomenclature in this business, like standards, was designed so that individuals all over the world can communicate accurately, period, end of story.”
David, I think we can both agree to disagree without referencing bovine ordure.
I’ve always adapted to what I personally consider is a better tool of the trade if it allows me to work faster, better and more creatively. Nomenclature is important, but not really relevant in this case as I just translate for those few who need it, and the rest (the majority) don’t care. I can’t speak for anyone else in this business, but part of my job has always been to translate; it’s just not that big a deal.
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[Mike Warmels] “Honestly, I don’t care very much about all that. Apple decided to create a new paradigm and with that comes a different jargon. Silly? Yes, but hey, it’s what it is.
“You’re missing the point Mike, the issue is not about the new paradigm, it’s about the needless and unnecessary renaming of terms in the lexicon that have are the universal standards of the industry.
As I’ve said before, the terminology most everyone uses in the industry has been standardized for a reason, it’s done so that the vast majority of people can understand precisely what you’re talking about without explanation – taking time to explain things unnecessarily is inefficient. Think Merriam Webster Dictionary – they don’t make sudden changes or replace words with new terms willy nilly, they wait until they become established in the lexicon.
Think of it this way, if Apple suddenly began calling audio by another name, such as ear-candy, how many times do you think that term would stop all progress just for you while you explain that to your clients? Then extrapolate over the entire population of editors using X and figure out how great the inefficiency would be.
And, for the record, one of the primary reasons the learning curve for X is longer than most other NLEs is because, not only did Apple change the paradigm, they also changed the lexicon, making the learning curve exponentially longer and more complicated, especially for those with the most experience.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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I think it happened cause in FCP X 10.0, the library held all your projects. You had access to all your media. Therefore you’d create a new project that had access to all your media but was a new project. Stupid for technical reasons but that’s the way they envisioned it. Worked for iPhoto.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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[David Roth Weiss] “And, for the record, one of the primary reasons the learning curve for X is longer than most other NLEs is because, not only did Apple change the paradigm, they also changed the lexicon, making the learning curve exponentially longer and more complicated, especially for those with the most experience.”
It probably did take me an extra 5 minutes to absorb the different terminology, and a day or two to understand the new interface and some of the major workflow changes. It took me awhile to get up to speed, but no more than when I started editing on AVID after working tape to tape, or FCP legacy after working on AVID. But I only have 20 years experience editing, perhaps if I had 30 or 40 years of experience I might feel different. I totally understand the irritation with the changed terminology, but this really feels like it is being dragged out of proportion.
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A project in FCP X is a single timeline. Period. What else is it? Name a single component that a project has
that is not in a timeline.Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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