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Todays FCP X announcement
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[Lance Moody] “editing functions all work more or less as we have come to expect”
They don’t. 3-point editing is broken. Replace at Playhead is broken.
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Three point editing works for me and I suspect most people or you’d see wide complaints about given its fundamental use.
Replace at playhead is not broken. It hasn’t been implemented. Replace is currently is Start or End or “Replace.”
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Basically you have to look at WHY you need one clip on top of anothe
Because I’m editing a feature shot on Arri D21, Red and Alexa. The actual clips I cut are all ProRes LT but the VFX guys and the colorist wants the original “Digital Negative”. To give it to them the first step is to make three EDL’s for each type of the footage. That’s why I need tracks.
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[Andy Neil] “I’m just asking questions about your workflow”
Back when films where shot on film nobody edited with the original camera negative. They would strike workprints, edit with them and only after picture was locked went back to the negative. It is the same now except ProRes is our workprint and DPX is our negative.
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[Andy Neil] “Wow.”
Peace, guys. It’s just a piece of software.
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[Michael Aranyshev] “Back when films where shot on film nobody edited with the original camera negative. They would strike workprints, edit with them and only after picture was locked went back to the negative. It is the same now except ProRes is our workprint and DPX is our negative.”
Let me get this right… Are you suggesting that post-production actually existed before the June 21st release of X?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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[Brad Davis] ” If you want formal audio support to Pro Tools, there’s an App for that as well.”
Not one that works reliably, there isn’t (with all due apologies to the late lamented but now very much defunct Automatic Duck).
And there’s no sign that there’s any coming along in any foreseeable future.
And that’s why, despite all the hoopla over this latest update, my operation (and apparently only a handful of others) still can’t begin to think of using FCPX for professional work. Which is a shame …
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
its all getting a little isaac asimov here –
Say I’m stupid craig (and you wouldn’t be wrong) explain in straightforward terms the transformative importance of the database in the context of FCPX as an editing system to a lowly editor? Simple examples relating to the editing experience with this software as it currently stands?
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Craig Seeman] “It depends on the duration. I can see time with connected clips and secondary storylines. If different parts of disparate time distance need to be “relative” I can make them a secondary storyline. I have choice. Clips apart in time may or may not be relative. I can make that “connection” as I see fit.”
Duration is irrelevant. The problem is everything must either be in or connected to the Primary — whether it makes sense or not. Fine for some things but a huge limitation for any editorial workflow requiring multiple, independent channels.
This is why we see workarounds like spiking clips to frame 1 to try to simulate independent track-like behavior. That fact that you have to do this is a clue that the timeline paradigm still needs major work.
Roles may help visually, but I don’t see how they address the constraint of everything having to connect to or be in a single Primary track.
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
Heretical, isn’t it?
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