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Tonight’s the night
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[Jeremy Garchow] “So, what is it exactly that Apple FCPX engineers don’t understand about editing?”
Three point editing. Replace at playhead. Dual system workflow. And generally they don’t understand that editing is not about what happens after what but about what happens when.
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[Michael Aranyshev] “Three point editing. “
You can’t three point edit in FCPX? Weird. I seem to be able to, but maybe I’ve been holding it wrong this whole time.
Yes, playhead replace needs to return, for now you have to actually mark ins and outs (or a range for the sticklers that are most likely going to swoop in on this comment and say I’m wrong).
Duel system, meaning you can’t get the dual audio back out (or you want to reconnect back to dual audio outside of FCPX)?
[Michael Aranyshev] “And generally they don’t understand that editing is not about what happens after what but about what happens when.”
But what about who and why?
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[Jeremy Garchow] ” I seem to be able to, but maybe I’ve been holding it wrong this whole time.”
Try edit on one in and two outs (yes, I know about Shift).
[Jeremy Garchow] “Duel system, meaning you can’t get the dual audio back out (or you want to reconnect back to dual audio outside of FCPX)?”
I want to sync on claps. I want to use a boom, several lavs and a production mix in multichannel BWF however I like without tagging each channel in each clip “boom”, “good guy” “bad guy” and “mix” first. I want all talk of “metadata” and “relational database” to stop until real metadata that comes with those BWF is actually treated by the app as metadata.
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[Michael Aranyshev] “Try edit on one in and two outs (yes, I know about Shift).”
I still don’t see how this isn’t possible in FCPX. You simply don’t need two outs.
[Michael Aranyshev] “I want to sync on claps. I want to use a boom, several lavs and a production mix in multichannel BWF however I like without tagging each channel in each clip “boom”, “good guy” “bad guy” and “mix” first. I want all talk of “metadata” and “relational database” to stop until real metadata that comes with those BWF is actually treated by the app as metadata.”
Yes, multichannel audio also needs help. It’s true. It has also been slated as one of the things to be released for this year.
Metadata can come in, but right now it’s via XML (and it’s limited) and you have to have a program that understands FCPX. It will take some more time, no doubt.
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[Michael Aranyshev] “[Jeremy Garchow] ” I seem to be able to, but maybe I’ve been holding it wrong this whole time.”
Try edit on one in and two outs (yes, I know about Shift).
“Sorry I don’t understand, are you complaining that it needs a modifier key to do this?
Steve Connor
“The ripple command is just a workaround for not having a magnetic timelinel”
Adrenalin Television -
[Jeremy Garchow] “I still don’t see how this isn’t possible in FCPX. You simply don’t need two outs.”
I am also not saying this because I don’t know what I am doing, either.
You don’t need two outs all the time to do what you want to do in FCPX, like you might need them in three point editing in other applications.
If you know about the backtime feature, then you can do what you need to do.
Jeremy
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[John Davidson] “John Davidson | President / Creative Director | Magic Feather Inc.”
You guys are out in Stevenson Ranch?! That’s wild. I drive by your office all the time. Let’s have lunch sometime!
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Fo sho. We’re next to Outback. I’ll show you our FCPX stuff :).
John Davidson | President / Creative Director | Magic Feather Inc.
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‘The way I feel about it is that they do know design.’
Yes they do but the timeline is actually the way it is for a reason. And the reason is not because it looks better.
If you start with the premise (and that’s the only thing you can argue about) that the common timeline with tracks, track panels, audio and video separation and division causes all kind of problems that you want to get rid of, than you end up with the timeline of FCPx.
Apple engineers didn’t say: let’s make it more pretty. They actually solved a lot of problems the ‘old’ timeline has. And when you analyse it it it actually is not that different at all. And it doesn’t need tools anymore that we needed before, e.g. the track(s) forward/backward selector. If you can’t throw clips out of sync by deleting or inserting clips you do not need to select everything forward and move it out of the way. The timeline does it for you now. Just one of the many examples.Best
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Unless you need to break audio apart from the video, and then there’s zero indication if sync has slips.
John Davidson | President / Creative Director | Magic Feather Inc.
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