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Switched…then switched back?
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[John Davidson] “With this, you can sub frame edit with such precision that it’s sick.”
but sure john, sub frame editing isn’t the issue – I, you know, am sub frame editing. The issue is being forced into AB editing to get asymmetrical controllable audio transitions?
On audio post methodology, I’ve seen quite a lot of it – in the place where I am there are ten year fairlight guys – they use fade handles John… they use them an awful lot? They have the singular advantage of sitting sperate from the audio material, and in fairlight you can tweak the hell out of them. if you don’t like it, you delete them with a click. Your AB carry on lacks that virtue!
[John Davidson] “To your point of cut downs, rather than start with the :30 and cutdown to the :15,”
nope – on that I mean going about the act of cutting down a three minute commercial track to a 30″ you know?for whatevers – I just did this one for a promo. Vampire weekend. V.Tricky track!
Lot’s of asymmetrical dissolves and edits john, sneaky little ones…. 😉
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “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.”
That which we call a rose by any other name would smell as sweet.
Think of it this way, a fade handle can equate to half of an audio dissolve. You can create the asymmetry on the other audio clip, whenever it may be, secondary or not, and unlike keyframes, the fade handle remains adjusted relative to the end of the clip with an addition of an adjustable fade curve.
I can’t screengrab right now or I’d show you.
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I think you’re looking for a specific line that just tells you what you want, but you have to use your ears (it IS audio, mind you). Granted, I can see exactly where the dissolve happens when I look at my screen grab, but you’re perhaps just getting stuck in your head that you HAVE to have a direct hard dissolve icon to know where your dissolve is.
The reality is that many of us do this every day and have had performance boosts because of it. You don’t, and so it feels kludgy to you. The only way you’ll ever get it is if a client puts a gun to your head and forces you to edit with x, in which case 6 months down the road you’ll be like ‘Jesus, THAT’S how I used to do it?’
John Davidson | President / Creative Director | Magic Feather Inc.
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[Charlie Austin] “if you must have a dissolve just make a secondary. “
wait – ah hang on – isn’t that audio dissolve going to be still locked to the centre point of the edit?? seriously – you guys are melting my poor noodle.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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Seriously Andreas, after three years of these post roundabouts you should know it better than anybody else!
John Davidson | President / Creative Director | Magic Feather Inc.
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[Aindreas Gallagher] “[Charlie Austin] “if you must have a dissolve just make a secondary. ”
wait – ah hang on – isn’t that audio dissolve going to be still locked to the centre point of the edit?? seriously – you guys are melting my poor noodle.”
Yeah, but what I’m saying is that if you feel you must have a dissolve to grab onto and asymmetrically trim, pull up , whatever, you can. I’m also saying there’s no real reason to do that other than force of habit. I’m in 7 now, dissolves suck. Yes, you can change the start/end point. And you have absolutely no control over it other than that except to choose flat or +3. It’s archaic. 😉
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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”~ -
[Jeremy Garchow] “Think of it this way, a fade handle can equate to half of an audio dissolve. You can create the asymmetry on the other audio clip, “
yes. sweet jesus kids – instead of a functioning edit point operation on the audio – you’ve doubled everything up and are working two separate pieces of audio.
I really do truly understand that, better again, i’m taking issue with the fact that you end up having to do that all the time because you have, well, a nearly useless audio transition tool…backing away… I’ve slipped off my shoes and I’m backing quietly away… 😉
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Charlie Austin] “It’s archaic. ;-)”
it is a continual astonishment to me that everything that is busted or half implemented in X is also, by lucky coincidence, archaic and sooooo last century.
lads. seriously. X has a crappy dissolve tool. If you had a better one, i suspect you would be using it a lot more.
no take backsies, times infinity, Andy win. 😉
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “you’ve doubled everything up and are working two separate pieces of audio.”
Then just use a secondary and a dissolve and adjust it. Changing the start or end point a la Fcp 7 etc is exactly the same as dragging the midpoint in X. It’s a dissolve. it always has a mid-point, no matter where it starts or ends. You’re grasping at straws.
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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”~ -
[Aindreas Gallagher] “If you had a better one, i suspect you would be using it a lot more.
“Nah, don’t need ’em if you cut the MX properly. MX dissolves are for lazy editors. 😉 Or NLE’s that are difficult and imprecise to properly edit audio in… (ducking)
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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”~
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