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What would it take?
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This is an easy question, All it will take is a client who wants to work in FCPx. It’s simple and all about money. I feel the same way about premiere. If they’re paying my rate, i’ll cut their project on windows movie maker it thats what they want.
Until that day comes I’ll work in Avid and FCP 7.
Scott Cumbo
Editor
Broadway Video, NYC -
[Bill Davis] ” Because I’ve been making similar calls my entire career – and my track record has been largely successful in keeping with my personal skills and abilities.
I’m moving ahead with X, cause it feels right for me. If it doesn’t for you – for any damn reason you can imagine – change.
Couldn’t be simpler.”
Bill, could you kindly please stop telling people what to do. this is an open debate forum. Stop it.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
Although there are many things I’d like to add in order to use FCPX with my day to day work, one item keeps me from doing so. It doesn’t break the program, it isn’t absolutely necessary in order for me to complete my work. It just really aggravates me and taints the entire program:
The inability to move windows/modify your own workspace.
That’s it. If I could do that, I would work around the majority of the other issues FCPX has. Without that, I feel like I’m working in a cookie-cutter prison, and will never use the software. I want more options than “single monitor” and “dual monitor”. I don’t like being told how to work. FCPX makes me feel like my dad is standing over my shoulder at all times, making sure I don’t draw outside the lines.
Nathan Bezner
Nightowl Pictures -
The people that have left, I mean really have left the building, aren’t coming back At least not in my opinion.
That leaves those of us that are hanging around.
I think the magnetic timeline is pretty cool, and I think it does take a bit to get used to.
What I think is the biggest “problem” with FCPX is the “at a glance” visually organized audio.
Notice I didn’t say tracks.
I think that underneath the primary storyline, audio clips should be “click sortable” by roles. Dialogue above effects above music, or whatever makes sense to the user, with a click. If these could be placed in vertical space where the user wants, I think it would allow what some people miss about tracks, but keep the advantages of tracklessness in tact. The problem is, it wouldn’t be very precise, so it might be tough to do elegantly as it would seem you need a modicum of fixed space, so…..
Hear me out, I understand this isn’t completely fleshed out. I don’t know how well it would work, but I could envision the space below the primary storyline to be organized in “zones”. Perhaps they would be “boxes” of very transparent user defined colors. When adding an audio clip to the timeline, the audio role would define which zone the clip goes in to. New role, new zone. Subroles would generally be added to the main Role’s zone. The zones would only be as thick as the layers in the Role deem them to be and stretch across the whole screen. They would be dynamic in their size. So kind of like tracks, but really separate groups of layers. All other timeline methods stay in place (connected/magnet/trackless/etc). Of course the Roles index would work the same too, as would Export.
I don’t know, maybe it wouldnt make sense as it gets tricky if audio is above the primary.
I’ll get trounced for this, but I really don’t think tracks are necessary, but I do think controllable visual organization of audio might be, as is export control to tracked programs. Fcpx just needs a bit more control in this regard. At their core, the tracks in FCP Legacy are controllable audio clip organizers.
Also, Event Manager X is worth every penny of $4.99 for managing Events and Projects.
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[Bill Davis] “Talk all you like. And I’m not defeatist at all. I just understand in the un-moderated, free for all that is public discourse in the modern world, things are better if we get to see MULTIPLE perspectives.
Are you saying that somehow mine is LESS valuable than anyone else’s?
“No, Bill; you’re opinion is quite valuable. I was actually enjoying reading about your usage the other day. I really do believe that there is a positive experience here to be had for many people. A cinematographer was extolling FCP X’s virtues the other day, and after looking at his reel, I could really see why it was a very good fit for him. I also see, after reading some details of how you use it, why it is a great fit for you. I hope you share more of that. I hope the cinematographer shares more.
All I’m BMWing about here is your BMWing for people to stop BMWing, and the occasional maxim you put forward that says, basically, “if you don’t like it, buzz off.”
Really, what I would like to hear more about are your experiences.
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[Scott Cumbo] “This is an easy question, All it will take is a client who wants to work in FCPx. It’s simple and all about money. I feel the same way about premiere. If they’re paying my rate, i’ll cut their project on windows movie maker it thats what they want.
Until that day comes I’ll work in Avid and FCP 7.
“Well, there is that. Touche. You right coasters are wicked smart folk.
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[Jeremy Garchow] “I think that underneath the primary storyline, audio clips should be “click sortable” by roles.” and the rest.
Interesting ideas! I could see an answer being somewhere in that direction.
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As long as there is no manual reconnect to clips that have gone off- line or been moved, IMHO this is NEVER gonna be a liable choice for the pro.
– No Parking Production –
2 x Finalcut Studio3, 2 x MacPro, 2 x ioHD, File Server w. X-Raid
…. and FCPX in the garbage bin -
[Chris Harlan] “[Jeremy Garchow] “I think that underneath the primary storyline, audio clips should be “click sortable” by roles.” and the rest.
Interesting ideas! I could see an answer being somewhere in that direction.”
Yes, it’s an interesting idea. But it basically makes the magnetic timeline behave like another visually organized metaphor – the fixed track timeline…with some marginal added flexibility. But would the added flexibility be offset by the constant re-arranging of the zones forcing the editor to constantly adjust to shifting patterns? I don’t know but it seems to me the real issue here is not spatial organization, it’s whether editing in ripple mode can ever be efficient with complex timelines.
I don’t ever edit in ripple mode unless I’m doing a simple assembly. Once I’m multi tracked with all kinds of independent audio layers I’m out of ripple faster than a jackrabbit with tail on fire. No matter how you slice it up the magnetic timeline by definition is a rippling structure behaving by simple rules. It just can’t have the intelligence of a human – at least not in the foreseeable future.
This argument has seen the light of day here before but it keeps getting subsumed in ideas how to improve the magnetic timeline. If there’s a way to turn off ripple and maintain trackless re-organization I haven’t seen it yet. I think Apple may have painted themselves into a corner by going this way. Then again it’s an engineer’s folly to create solutions that turn out to be bigger problems than what they were trying to improve. All signs point to the liklihood that that’s what’s happened here.
David
AllinOneFilms.com -
Well, there are two major tools missing: multicam and external viewing. Interestingly these two are the ones Apple has pre-announced.
Many of the things asked for are either not possible as some want them (because this is X not 7) or are already possible via third party workaround (X27 -OMF out, Color etc) or are hopefully in development (audio needs tons of work).
For me 7 is dead unless it is an old project. I have also transferred a few legacy projects to X. The customer-wished changes are often minor and I just feel already more comfortable and quicker in X.What the majority of larger post-houses needs are hardware interfaces to decks and a industry adoption of FCPXML.
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