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What would it take?
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[Jeremy Garchow] “ou know how many tracks you’re going to have before you edit?”
Almost completely. But I’m doing most of my sound tracks as I edit and mixing, unless it’s really a big outsourced job, can be done in Premiere/Audition.
A basic layout that’s modified as each film demands (All stereo pairs):
Voiceover X2 (if voiceover present)
Interview X 2 or as many as I need usually determnined by the mic used and their particular EQ which is adjusted in a track effect.
Sync X3
Effects X4
Music X3[Jeremy Garchow] “What if all of a sudden an effect is comprised of 6 stereo pairs, you don’t have to rearrange your timeline for that?”
I’d have to add two stereo pairs. One action.
[Jeremy Garchow] “”Zones” would simply adjust. I’m not assuming anything about your workflow. It’s cool. Let’s discuss it”
I think zones may be a very good idea. As most of my track layout is done at the beginning I don’t see it as inherently different than fixed tracks.
David
AllinOneFilms.com -
[David Cherniack] “Maybe there’s something about the Magnetic timeline I don’t grasp. The way I understand it the position tool is the only ‘overwrite’ function available and it works as an override to the standard rippling mode. If that’s correct that’s not the same thing as working in overwrite. If it’s not, please do correct me.”
Just curious, have you used FCPX?
D is the overwrite key.
If you want to replace something that’s not in the primary, you replace it with the various replace commands.
I agree with Simon that the magnetic timeline isn’t necessarily a deal breaker.
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[David Cherniack] “Voiceover X2 (if voiceover present)
Interview X 2 or as many as I need usually determnined by the mic used and their particular EQ which is adjusted in a track effect.
Sync X3
Effects X4
Music X3
“Perfect, then your zones would be all setup provided you setup your Roles upon import.
You wouldn’t have too add any actions, just simply add the audio to the timeline where you want in time, and the role would determine the “zone”. You won’t need the fixed tracks.
Oh well, it’s just fantasy at this point. I do think adjustable audio clip organization would help FCPX a lot, whatever the method.
As would interchange, but my hunch is that more of that will come once fcpxml is further along.
In the meantime there’s always Foolcut/X27/Resolve Lite/CatDV (just kidding Simon, replacement gasket is in the mail).
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[Simon Ubsdell] “So much has been made of the Position tool in these discussion that it seems as though it’s been forgotten that the D key (or Edit>Overwrite) is your standard Overwrite mode, no different from FCP or any other NLE. In fact, it’s exactly the same and completely unchanged.”
Good to know.
[Simon Ubsdell] “[David Cherniack] “Doing insert gap with complex timelines is always going to require some adjustments”
… is now actually not the case with FCPX. I’d say that in 99% of cases there will be no need for repairs or adjustments of any kind (beyond possibly trimming the gap), as everything stays connected exactly where you’d hope it would. (I know it doesn’t seem possible or likely but try it and you’ll see that it’s true.) Accordingly, what used to be a multi-step process in almost every case (some times very many steps indeed), is now a single-step process.”
Simon, the most common insert gap operation I do will have audio clips, music and effects, overlapping. I want some of the clips to move with the gap and some to stay stationary. How is the magnetic timeline going to handle that without additional steps? I’m sincerely asking.
David
AllinOneFilms.com -
[Jeremy Garchow] “I agree with Simon that the magnetic timeline isn’t necessarily a deal breaker”
No, I’m definitely not saying it is. Rather I’m only getting the impression that for complex editing it appears to be less efficient than the fixed track model. Others here who also do complex editing, would seem to agree.
David
AllinOneFilms.com -
[Scott Cumbo] “[Chris Harlan] “Well, there is that. Touche. You right coasters are wicked smart folk.”
where you born a douche or did it take practice?
Scott Cumbo
Editor
Broadway Video, NYC
“Wow. I think that’s the first time I’ve ever been called a douche bag. I’m guessing we have a little communication issue here. I wasn’t making fun of you. I was actually complementing you for pointing out what should be obvious to the rest of us but often gets lost in the conversation. I see, however–in the light of your response–that what I wrote could be taken as mean-arsed sarcasm. It wasn’t meant that way. Sorry if you were offended.
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I guess, what’s complex editing in your view? More than 6 tracks of audio?
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[Jeremy Garchow] “I guess, what’s complex editing in your view? More than 6 tracks of audio?”
It’s not the number of tracks though they certainly are a part of it. It’s rather the consistent large number of overlapping events, both audio and video layers.
David
AllinOneFilms.com -
[Chris Harlan] ”
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.”
“Well, Chris,
If nobody ever steps up and publicly says, “enough already with the BMW” then it’s likely that this specific board will always be nothing but a reflection of the “NOT” view. Something it’s in serious danger of already being.
As I and a few other voices constantly aver, FCP-X is a high-functioning new youngster. It has plenty of gaps in it’s “institutional wisdom” – but heck, if back in 1999, that’s all anyone had ever talked about with FCP-V1 was ITs shortcomings, – (no JKL support, no Beta SP support via RS-323, 422, only Firewire i/o, limited and “cheesy” built-in effects, etc, ad nauseum) then the editing industry landscape of today might be very different.
It’s “grace period” during it’s initial roll-out – and the constant evolution of not just the program, but the view by the larger industry of first it’s “sweet spot” then it’s growing capabilities, and eventually it’s unprecedented success as it evolved into the dominant general use editing platform in the world, are a story I believe to be worth remembering.
We’ll see.
Oh, and as to your enjoyment of my experiences deploying FCP-X, hold on for a couple of days. I’m doing something with it on Monday that looks like it will be an interesting minor exploration into a new (for me, anyway) arena.
I’ll let you and everyone else here know how it works out.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Chris Harlan] “Wow. I think that’s the first time I’ve ever been called a douche bag. I’m guessing we have a little communication issue here. I wasn’t making fun of you. I was actually complementing you for pointing out what should be obvious to the rest of us but often gets lost in the conversation.”
I was also going to agree with Scott’s original post. I’m glad I didn’t now.
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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