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The exponential greatness of the magnetic timeline in FCPX
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[Bill Davis] “Agreed, but with a disclaimer – for the non-editor and with kids – the “click” largely never happens – because the X process is nearly totally intuitive for them from day one. “
I know I’ve argued the opposite before, but I’ll mention it again. I don’t see the tendency in college kids (film students, granted) that X is any more intuitive to them than are other NLEs. I’ve gone back and forth on that one. I think at best its 50/50.
[Bill Davis] “However, the longer an editor has been active at a high level with traditional NLE software – the longer it often takes for them to stop fighting the software so that the “click moment” can arrive. “
Again, I disagree. I think it’s entirely personal. There might be resistance because of the “if it ain’t broke, don’t fix it” approach. But there are plenty of editors in the category you describe that have taken quite happily to FCP X. In fact, I know more older editors using X than younger editors. In fact, most of the younger editors I see have moved to Premiere.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Again, I disagree. I think it’s entirely personal. There might be resistance because of the “if it ain’t broke, don’t fix it” approach. But there are plenty of editors in the category you describe that have taken quite happily to FCP X. In fact, I know more older editors using X than younger editors. In fact, most of the younger editors I see have moved to Premiere.”
There is another way to understand this. It’s not so much that there is a lack of willingness or capability to learn it. An editor that has trained themselves with a certain logic in the timeline have to learn a new logic which can conflict with the old one. Some adjust faster than others, but that’s just sort of the way the brain works. I certainly had this issue when learning X. And I’d have the same issue trying to switch back to a tracked timeline, even though I had it mastered at one time.
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[Bill Davis] “Really, Magnetism isn’t a single “thing” iIMO. It’s part of the cohesive editing system in X. And to isolate it and talk about it in the absence of the database that drives it and connected clips, secondary storylines and the other X vertical relationship “stickiness” elements – can only lead to more misunderstanding and more editors not truly familiar with X missing the larger point.
“interesting how people define the magnetic timeline, I actually consider it to be ALL of the operations in the timeline, including most of the elements you listed,
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[Bill Davis] “speaking ONLY of the interface representation, for all I know they’re a great editor, but to my eye this is a interface disaster of epic proportions and is exactly what we’ll all be seeing if we allow unlimited timeline color tagging.)
“I know there’s not much you’d like to change about FCPX Bill, but some of us would like the OPTION to have Colour coding.
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[Brett Sherman] ” It’s not so much that there is a lack of willingness or capability to learn it. An editor that has trained themselves with a certain logic in the timeline have to learn a new logic which can conflict with the old one.”
In the end, if you are fast and everything is second nature, there’s no real reason to change applications. You know where everything is and largely operate on muscle memory. The software will have become totally transparent. Even if a new way might be better or faster, an experienced editor is already fast enough, so the advantages of change aren’t a given. That’s why Avid continues to be strong in the film and TV show world.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Brett Sherman] “There is another way to understand this. It’s not so much that there is a lack of willingness or capability to learn it. An editor that has trained themselves with a certain logic in the timeline have to learn a new logic which can conflict with the old one. “
And I think it’s good to keep in mind that this isn’t unique to X. I don’t know how many FCP editors I helped teach Avid too and my first piece of advice from day one was always “Pretend that you’ve never used an NLE before” because if you don’t go into it with a clean slate you are going to drive yourself crazy.
I’ve used enough NLEs now that I find it easier to pick up on new ones than in the past but I think NLE #1 is generally going to be the easiest (no preconceptions of how things should would), NLE #2 is probably going to be the hardest (difficultly ‘segmenting’ each NLE to a different part of your brain), but after that I thinkit’s smoother sailing typically.
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[Bill Davis] “Please god, limit the color coding!
In another group, somebody posted this…
(speaking ONLY of the interface representation, for all I know they’re a great editor, but to my eye this is a interface disaster of epic proportions and is exactly what we’ll all be seeing if we allow unlimited timeline color tagging.)
YIKES!
“That just looks like a messy editor to me – you can choose to do or not is the point and to the extent you do it as well. That guy clearly went a little overboard but it may all make sense to him.
I personally color code certain things like SFX and Music Cues – stuff I get back from the GFX team, colored different than my temp GFX, etc.
Its really handy actually and when used in a team can really help your finisher know whats what, or another editor that picks up the project at a later date.
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[Oliver Peters] “Even if a new way might be better or faster, an experienced editor is already fast enough, so the advantages of change aren’t a given.”
Yes. The tool I need most is time away from the edit room. Nothing like a next morning to help you see your project more objectively. I will gladly switch to any NLE that can extend my editing schedule – not by making me edit faster, but by giving me more days in a week. Time away from the project is where the inspiration is found.
(Warning: Dinosaur moment)
Way back in the early 80’s when I was switching from film to tape I used to get into this argument with video trained editors — they were always talking about how fast video editing was, while I was always complaining about how crappy video editing was, and beyond the technical differences I always thought that it was the slowness of film editing that allowed for better editing – not to be too poetical but you need time to let your dreams influence your work. This doesn’t mean I want to work with wonky software or I don’t appreciate the apparent speed gains available in X, but I’m pretty fast with any decent NLE I work with and speeding up the already speedy is not my highest priority. If I could get the gains of X without giving up the visual organization and absolute time base of traditional NLEs I’d be all over it. However, for me the one is not worth the loss of the other. As always, YMMV.Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Andrew Kimery] “I don’t think anyone would debate which NLE is the easiest to pickup by someone that’s never touched an NLE before.”
Actually that’s been very much debated here Andrew. I’m surprised that it has but that’s the case.
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[Mathieu Ghekiere] “I’m not an editor because I love the technical nature of editing (although of course there is a big part of me that likes it a bit). I like to tell stories. I think X is more appropriate for artists then a lot of other NLE’s because of this.”
Yes
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