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The Magnetic Timeline – Time, Space and One Clock To Rule Them All
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[Craig Seeman] ” I find there’s no complex procedures for it to behave as I need it in any given circumstances.”
You’ve just described what appears to be a much greater number of procedures than what I do to accomplish this task. I’ve never inferred that it can’t be done in X, only that’s there would diminishing efficiency compared to the tracked timeline as the complexity of the layers grows.
But thanks for the input.
David
AllinOneFilms.com -
[Craig Seeman] “A big advantage of clip connections is that it becomes easy to move a complex stack related to a clip”
So before FCPX it was hard?
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Yes. It is a mess. Replacing IN in OUT with “Ranges” forced them to create two “Overwrites” instead of one and still you have to constantly look for unwanted ranges because they will mess your edit. Very bad design.
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[Michael Aranyshev] “Yes. It is a mess. Replacing IN in OUT with “Ranges” forced them to create two “Overwrites” instead of one and still you have to constantly look for unwanted ranges because they will mess your edit. Very bad design.”
If that’s how you feel, cool, although I am missing your point about two overwrites.
It’s definitely different, but 3 point edits still work.
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“So before FCPX it was hard?”
Michael, your not the first to ask that question, and definitely not the last.
https://forums.creativecow.net/readpost/335/11474
Herb Sevush
Zebra Productions -
[Jeremy Garchow] “although I am missing your point about two overwrites.”
Backtimed Overwrite is a separate command in FCPX. And it doesn’t work if you have some ranges selected both in source and record. And it’s rather hard not to have ranges selected unless you’re working exclusively with the mouse and by throwing everything on the timeline first and then just trim by dragging edits.
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[Michael Aranyshev] “And it doesn’t work if you have some ranges selected both in source and record.”
Yes, the skimmer or playhead becomes the in or out point so you don’t need the timeline range. Then you can choose to forward time or back time in relation to the playhead.
Here’s the keystrokes for FCPx:
‘i’ on incoming clip, ‘o’ on incoming clip (or drag out a range on incoming clip).
Place playhead/skimmer on in point if it’s not already placed and ‘d’ OR place playhead skimmer on outpoint and ‘shift-d’.
For FCP7, load clip in viewer, ‘i’, then ‘o’.
Command 3 for timeline, mark ‘i’ (or mark ‘o’), choose track patch or auto select, then f10.
It’s about the same, no?
You can then reverse this, if you have a range selected in your timeline, you can then place the playhead/skimmer on the incoming clip in browser and d or shift-d.
I don’t find it messy at all, but to each their own.
Jeremy
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[Michael Aranyshev] “So before FCPX it was hard?”
Yes for many people who really had a hard time lassoing or command clicking clips. Now it just works. There’s zero risk that I’ve missed selecting a clip. Maybe you’ve always been perfect at that but I don’t want editing to be hampered by my hand eye coordination or lack thereof.
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“I don’t want editing to be hampered by my hand eye coordination or lack thereof.”
New slogan – “From the folks who killed of Shake, we bring you FCPX, for editors with the shakes!”
But wait, how do you select the clips to be connected and compounded? No mouse use there?
Herb Sevush
Zebra Productions -
[Craig Seeman] “Now it just works.”
Provided you linked your clips correctly. There is always room for human error, and I don’t see how this design will prove any different. If you don’t link the right elements together, they won’t move together will they?
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Michael Hancock
Editor
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