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Tedious track based editing
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[Oliver Peters] “Completely agree and I understand these alternate methods. But these are all workarounds and “tricks” that are counter-intuitive in ways that make one pine for a track-based system.
This also adds another wrinkle we haven’t discussed much here. A lot of the way X works is like flinging **** against a wall and re-arranging the mess. One editor does it COMPLETELY different than another. If I were to pick up a project after another editor on X or the other way around, it seems that the two approaches to the timeline may be so radically different, that neither would have any idea how to decipher what the other editor had done.
The app has both a rigid structure and no structure at all, which makes it all so confounding.
“Ha! Of course it’s true. There’s a bit of new language to learn, new terms, new techniques, etc, and of course more work to be done to get more refinement out of the X timeline. The language is still being written.
There’s been times when I have been handed FCP7 timelines, and they are complete cluster f*cks.
Or even harder is someone’s Ae project, which can be hard to decode, or at least it can take a while to drill down far enough to see what’s happening.
I do not think this is limited to the scope of FCPX.
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[Jeremy Garchow] “Or even harder is someone’s Ae project,”
Definitely!
[Jeremy Garchow] ” There’s a bit of new language to learn, new terms, new techniques, etc”
Which is the struggle. After over two decades of computer-based NLEs, we’ve all come to understand a reasonably similar syntax, regardless of brand.
[Jeremy Garchow] “I do not think this is limited to the scope of FCPX.”
Agreed. DAWs would be another case where the similarities aren’t as close as in most “traditional” NLEs.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Which is the struggle. After over two decades of computer-based NLEs, we’ve all come to understand a reasonably similar syntax, regardless of brand.”
I know that the familiar is more comfortable. I understand that there are real cost implications to a wholesale change of technique in terms of time and expertise. Moving from FCP Legend to Pr is a decently “easy” transition, perhaps much easier than moving from FCP7 to FCPX for some people.
But after those 20 years, are tracks really the best we can do?
Jeremy
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[Jeremy Garchow] “But after those 20 years, are tracks really the best we can do?”
After hundreds of years of composing symphonies, is the musical staff and notes really the best we can do? 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “After hundreds of years of composing symphonies, is the musical staff and notes really the best we can do? 😉
“I’ve heard this analogy before, maybe it was you. 🙂
Do you read music?
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[Jeremy Garchow] “But after those 20 years, are tracks really the best we can do?”
After a few thousand years are round wheels the best we can do? Sometimes good solutions are good solutions. Ask Mazda how far they got with the Wankel Rotary engine, when they asked the same question about the traditional piston engine. I’m not saying that tracks are the best GUI for editing, I’m just saying that appealing to change for change’s sake isn’t a good critique. If you’re going to make a new car without a steering wheel and floor pedals there has to be real tangible improvement for all to get the market to accept the innovation.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Meaning – can you read music? (sorry)
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[Jeremy Garchow] “Meaning – can you read music? (sorry)”
Yes.
BTW – Look at Mistika if you want to see where Apple “borrowed” the trackless idea.
https://www.pixelution.co.uk/mistika-for-editing/
or sgo.es
Which originally started as Jaleo in the 90s.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “After hundreds of years of composing symphonies, is the musical staff and notes really the best we can do? 😉
“No in fact not. That’s a ver “EuroWestern” view of notation. There have not only been modern composers who have struggled with that, there are some very old cultures in Africa whose rhythms can’t accurately be notated that way.
The result is, IMHO, music composition in constrained by a convention which needs to be replaced. Music notation is geared towards complex harmonic and instrument arrangement and a major fail when it comes to complex rhythms with relationships that change through time as well as microtonality and there’s sonic structures which can evolve which can’t be represented at all in traditional notation.
Your comment is IMHO a perfect example of constrained thinking in that the “conventional” is the best.
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[Craig Seeman] “Your comment is IMHO a perfect example of constrained thinking in that the “conventional” is the best.”
First of all his quote had to do with composing symphonies, not notating different world musics. Second of all it is not enough to point out the problems of an existing system unless you have a better system to recommend. Oliver was talking about “best” not about a hypothetical “ideal.”
Your comment is a perfect example of supporting an illusory good over a functioning practice.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf
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