Switched…then switched back?

[Charlie Austin]

[Aindreas Gallagher] “I just played with it in X – unless I’m missing something really obvious, I don’t see how that dissolve is not near useless for audio?”

I actually never use audio dissolves in X, or very rarely. It’s just quicker (and more precise since you can choose the curve on either side) to A/B connected clips and use the fade handles. If I need to put the A/B’s in secondaries to keep the chunks together when I’m moving primary stuff around it’s just a KB combo away. In 7 etc now I find myself reaching for the fade handles on clips. Cutting MX in X now is way easier for me than any other NLE I use.

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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[John Davidson]

[Aindreas Gallagher] “I just played with it in X – unless I’m missing something really obvious, I don’t see how that dissolve is not near useless for audio?”

What you did there in that image – we never do that. You’re still approaching it from a track method, when the reality is you need to come at it from a layer method. We never, never, ever – NEVER – do dissolves like that on Audio only. The reason is – you don’t have the control that you want. You have to come at it from a Logic way – you control each layers fade transition with the white dot to do the audio dissolve. Once you get fast at it, you don’t miss how you’re doing it.

I made this little example.

This is exactly the kind of thing that you once you unlearn the old way – the new way comes of much better and you have more control over it.

John Davidson | President / Creative Director | Magic Feather Inc.

[John Davidson]

Funny – you beat me to it Charlie – but we are both doing it the same way.

John Davidson | President / Creative Director | Magic Feather Inc.

[Charlie Austin]

[John Davidson] “Funny – you beat me to it Charlie – but we are both doing it the same way.
“

lol… well, you took the time to do a screenshot. Fancy… 🙂 But yeah, putting music in secondaries for any reason other than the one I noted is a time waster…

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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Steve Connor]

I do a lot of music editing in FCPX, fade handles work very well

Steve Connor

Hoping to become a pedant

[Aindreas Gallagher]

I’m not sure I agree with this at all. I will do keyframe based stuff overlapping if I have to, – say to get a tune to really imperceptibly fade out coming into IV – but one way or another you’re simply avoiding the fact that that dissolve in X is not very usable. If I was in your situation, I would probably be doing what you are doing, but I’m not.

The reason why I think an actual edit point you can act on, with asymmetrical dissolve handles is so madly useful for music edits, is because you can use the slip and roll tools either end of the edit splice to fine tune the patch at audio sample level, while adjusting the audio transition dissolve either side of the cut to favour which ever side the beat match is on.

In short: your situation breaks the ability to perform edit point based audio slips and rolls while adjusting the incoming and outgoing dissolves to fine tune the audio patch. Although in your screengrab you seem to be AB editing two different pieces of audio: again, I’m talking about music cutdown editing for spots. something I figure we both do a lot of.

What you have is two disconnected overlapping fade outs in effect. I don’t think that’s in any way near as effective to my way of thinking – although I know! – legacy thinking andy..

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Jeremy Garchow]

If the audio is in a secondary, you can overlap the audio and expand each audio side, and use fade handles. Fade handles also (if you right click them) give you different dither options. You can still keep the edit point and do what you need to do, fade handle timing remains relative to the end of a clip even when you slip and slide.

This gives you control over everything you just mentioned, and then some.

[John Davidson]

[Aindreas Gallagher] “In short: your situation breaks the ability to perform edit point based audio slips and rolls while adjusting the incoming and outgoing dissolves to fine tune the audio patch. Although in your screengrab you seem to be AB editing two different pieces of audio: again, I’m talking about music cutdown editing for spots. something I figure we both do a lot of.
“

The old FCPX7 is more of a hack IMHO. Our way is more like an actual audio mixer would do it in ProTools, Logic, etc. So much of audio dissolves in legacy FCP was a guessing game, hoping and experimenting repeatedly with “hmm, let’s try it with start on edit – no, – now let’s try end on edit ‘ maybe? Oh I give up.” With this, you can sub frame edit with such precision that it’s sick.

I get where you’re coming from – I had initial resistance – but this way is FAST and deadly accurate when you get good at it.

To your point of cut downs, rather than start with the :30 and cutdown to the :15, we just drop the :30 in a new project, lose whatever clips we need to lose, and then quickly adjust extensions which is pretty painless. If things are on secondary layers over a blank gap clip, the you blade the gap and extend/contract trim it until the space between whatever clips aren’t deleted is gone.

If you really want to have a hard split at a single point, you can just compound clip your audio – but I don’t prefer that method.

John Davidson | President / Creative Director | Magic Feather Inc.

[Aindreas Gallagher]

[Jeremy Garchow] “You can still keep the edit point and do what you need to do,”

but jeremy – you don’t have an edit point. If we’re talking about a music track cutdown, what you then have is an entire series of AB music edits all across the spot.

It’s not a good solution – its the lack of a functioning dissolve, resulting in the need to start AB editing your music audio edits.

Instead of a simple roll edit say, you’re now talking about having to extend one end of the audio AB and trim the top of the incoming music edit. that’s madness.

For want of a nail etc was lost. for want of a functioning dissolve you guys are jumping through hoops. You haven’t adjusted to a new interesting paradigm – it really does look like you’re jumping through hoops.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Charlie Austin]

[Aindreas Gallagher] “For want of a nail etc was lost. for want of a functioning dissolve you guys are jumping through hoops.”

Nope, you’re wrong. Sorry. I do this stuff all day, every day, in X, 7 , and sometimes Pr. It’s easy. And as John points out, if you must have a dissolve just make a secondary. Maybe they’ll make the midpoint adjustable like the dip to color dissolve. X really is more like a DAW in that sense. Nobody uses “dissolves” editing music, at least nobody I know. It’s all A/B with fine curve control…

EDIT: to be clear, if you like using dissolves, fine. A-You can and B- you have alternatives. But saying something’s broken because it doesn’t work the way you want it to is… inaccurate. 🙂
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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~