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Why I am angry.
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[Buddy Couch] “”Get on the bus or get run over by it.” Love that quote.
“In this case the bus is going to drive off a cliff.
I’ll take my chances not being on it.
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100% agree with Aindreas on this one. This automatic anticipatory behavior just gets in the way. I’m ALWAYS moving clips or groupings temporarily to the end of the timeline, using this as a scratchpad, or temporary storage area. If FCP-X creates slugs in my gaps, that would be totally stupid.
Here’s another expression: “If it ain’t broke, don’t fix it.”
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[Chris Kenny] “How does the slug that appears in a gap prevent you from doing this?”
Strictly speaking it doesn’t. However it sits there constantly reminding you of the fact the guy who designed this timeline got his idea of editing from his roommate who’s grandma was cutting Mack Sennet’s flicks with a pair of scissors. It’s not the future of editing. It is the badly understood past.
[Chris Kenny] “IMO this ‘gap slug’ behavior is a very nice feature, because it allows gaps to be treated like normal clips.”
Gaps in real FCP behaved just like regular clips. You could select, delete, ripple delete and trim them as you liked. Didn’t you know that? But still they looked like gaps, not like another clip. Visual clues are important.
All this “faster horses vs an automobile” stuff is BS. FCPX timeline isn’t trackless. It is clearly designed as a 1V2A timeline with everything beyond that slapped on as an afterthought and held to it with huge amount of gaffer tape. Every single “innovation” there was implemented long ago to various degrees of stupidity in other NLE’s. Apple just collected the worst design decisions and scrambled them together.
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Spot on, Aindreas.
The magnetic timeline is a UI disaster and completely undermines the very foundation of the editing process. There’s a reason the timeline/track metaphor has been used for decades since the invention of NLE systems. It works because at a fundamental level, it really can’t get any simpler. Time is linear and fixed, media are objects that get placed in time to create linear experience. When we edit, we demand absolute control of every event on the timeline. Could it be improved? Of course. But don’t destroy the very heart of non-linear editing to add those improvements. Working with the magnetic timeline is like trying to build a house on a bed of quicksand instead of steel and concrete.
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[Michael Aranyshev] “Strictly speaking it doesn’t. However it sits there constantly reminding you of the fact the guy who designed this timeline got his idea of editing from his roommate who’s grandma was cutting Mack Sennet’s flicks with a pair of scissors.”
So your entire objection is to the visual presentation?
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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No. My objection is to calling something clearly designed as 1V2A timeline that is always in ripple mode “innovative and revolutionary”. It is very old and very restrictive.
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LOL @ In this case the bus is going to drive off a cliff.
I’ll take my chances not being on it.
Good one J Hussar!
I never thought of it that way 🙂
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yes. thank you jesus.
I mean we have to – look – either apple are in Versailles throwing cake out the window and peeing on our heads laughing, or there is some chance we can forcefully present to them the sheer idiocy of this software.It is incumbent upon us to kick this particular editing software provider’s ass until it shines.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
it creates slugs in all instances without exception. It is a timeline without spaces – that was randy ubilloses “I can see stars” insight for the craft of editing.
My timeline has no time, no space, no video channels, god i would often calmly throw whole short form edit versions off away down the track – V1 through V7 high, wee little towers of editing thought when I zoom out- this is why now I truly hate that comparison shot apple so carefully orchestrated between FCP7 and FCPX, everything they said there was intellectually false, everything they tried to sell was false, all they were doing was laying the groundwork for a base consumer cash grab where they took the name of FCP and the brute moronic simplicity of V1 A2 imovie, burned the professional application base alive and sold the moron with glitz bells software to anyone who would buy it. Apple didn’t make this software for editors as a craft or a profession, they could give a damn. they saw lobotomised editing with the FCP marker as an ipod sale.
all apple want, all they have ever wanted in their lives – is cash.
this image could somewhat sum it up:
famous quote from Thomas Jefferson:
“Randy Ubillos, you total and utter moron, FCP7 wasn’t a multitrack editor, editing is a multitrack operation, editing systems are intended to be an expression of that truth.”http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
“The magnetic timeline is a UI disaster and completely undermines the very foundation of the editing process.”
and well… that’s it OK? Yes?
That is just rather it. That is what has happened.That is the phrase and truth of the situation. That statement is fundamentally true.
And most importantly – apple did this for reasons which have nothing to do with supporting the craft and continuance of professional editing.
They really really did not.
here’s to the crazy ones.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics
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