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The Open Timeline and Spatial Workflows — An Example
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[David Lawrence] “Fair question, Steve. Some of the constraints have to do with issues Aindreas raised in his example regarding the fixed screen layout and wanting more flexibility with how bins and multiple sequences can be arranged. Others have to do with the nature of the timeline itself. I’ll explain in more detail when I answer Jeremy.”
and well done for starting the most interesting and productive thread on this forum so far IMHO
“My Name is Steve and I’m an FCPX user”
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[David Lawrence] ” So is the ability to read source timecode for clips in the Timeline.””
That’s weird. Using almost any tool but the selection tool displays source tc. Wonder what they are still debating?
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Let’s say that the spoon is iMovie and FCP7 is the bucket.
What could have been “awesome” to do to improve that task?
To develop a hose(call it FCPx)to empty the bathtub right to the sink.The problem is that this new hose workflow is lacking a water pump!
And we have to suck the water out ourselves…Now back to the bucket. -
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[Jeremy Garchow] “That’s weird. Using almost any tool but the selection tool displays source tc. Wonder what they are still debating?”
Weird is right. But the one that really gets me is persistent In and Outs. I mean seriously, what on earth is there to debate???
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David Lawrence
art~media~design~research
propaganda.com
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[David Lawrence] “But the one that really gets me is persistent In and Outs. I mean seriously, what on earth is there to debate???”
Well, this is just total conjecture, but FCP7 was always caching, always caching, and that caused some problems with certain workflows (like Color renders not updating, weird audio renders, XMl files getting stuck/not updated, and other anomalies).
When adding that in and point, you have to store that info somewhere. Being that FCPX’s browser is so dynamic, this could probably add up to a lot of little calculations pretty quickly, thus slowing performance, or making things move slowly. Writing a bunch of little files to SAN volumes can take a long time as that’s the way a metadata controlled SAN system (such as XSAN) work. If the event file is constantly caching all these little in and out pints, it make make for a less efficient system.
Like I said, it’s just conjecture, but I bet it has to do with some sort of system architecture rather than deciding if it should be a useful feature. I am sure it’s possible, but is it the best decision from a stability standpoint when there’s other ways to store in and out? Perhaps that’s what they are asking themselves. Otherwise, why wouldn’t they just do it?
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I’ve argued elsewhere that the event browser is acting more like a DAM in this regard, and less like an NLE source monitor.
With FCPX, media clips exists independently of the project (whereas in FCP7, you stored clips within the project itself). In and out points belong to the media within the context of a single project, but they do not globally belong to the media across all projects.
The event browser would have be contextually aware to present the proper in and out for a media clip, depending upon the current project.
I think that resolving the stored In/Out points goes back to the question of how to best associate a media clip with the projects that use it.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Walter Soyka] “I think that resolving the stored In/Out points goes back to the question of how to best associate a media clip with the projects that use it.”
Well, isn’t it just that simple? The project uses it, the in/out gets cached to that project? Every project already has event references.
New project, new cache?
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[Jeremy Garchow] “Well, isn’t it just that simple? The project uses it, the in/out gets cached to that project? Every project already has event references.
New project, new cache?”
Exactly. Seems like caching at a project level would be the way to go. Unless event references are stored at the event level?
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
[Jeremy Garchow] “Well, isn’t it just that simple? The project uses it, the in/out gets cached to that project? Every project already has event references. New project, new cache?”
I would think so, but my guess is that the debate is more about the role of the event browser (is it a DAM, a source monitor, or both?) than how to technically achieve stored in/out points.
But what about a project that uses multiple ranges within the same clip? That information could and should all be preserved (unlike FCP7, which only stores the last set in/out per clip). Like so many other concepts, the way FCPX should handle it may not be the way FCP7 did. This is the perfect case for a new use of old metadata.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events
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