Aindreas Gallagher
Forum Replies Created
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isn’t it tho? some parts of this software really does have its game on.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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ha.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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FCPX is a tinker? – that’s harsh steven, justified, but harsh.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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nope – playing quite a bit thank you. we have had some pretty involved discussions about ranges and their limitations, and I’ve gone on about the problems with out of range keyframes at some length. including alternate mock ups. I’ve also mucked around extensively with CC and the editing modalities for connected clips, secondary storyline, primary. I have a pretty decent handle on this software – if someone put a gun to my head, I could execute a piece in X *fairly* comfortably.
of course, it is incredibly handy for those defending the software to their last breath to simply say of those who disagree with them – you don’t know how to use it, so that invalidates you. its handy Jeremy, but it doesn’t wash.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Jeremy Garchow] “I have to keep reminding myself that you guys aren’t playing with the software. “
no no – I play. Playing doesn’t force you into the meat of it tho – but I do play, have quite a bit.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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actually wait a minute – has anyone seen this?
some of the parent child operation stuff for audio here – out of the inspector is pure mad. I really didn’t fully get that half of this could go on.
https://www.youtube.com/watch?feature=player_embedded&v=AaNkkTXt_ng#t=210s
this is genuinely impressive. (yes fine I should use the software properly). but from 3 minutes, to around 7-8 minutes alone are well worth watching.
It’s a little bit of an eye opener.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[John Davidson] “While your mouse is on the master clip, you can either mute the top layer audio using the volume bar, trim it to where you want it coming back in, or just turn it off in the ‘inssssspector (you have to say that with a lisp)’. 17 different way to accomplish the same underlying goal.
X seriously doesn’t care if the clip with the cut up audio is blue with video or green with none. What better sync marker on Earth is there than the actual video attached to a clip you’re treating like just audio?”
nah – come on – I mean sure, but if this is going to gain wide spread adoption, Apple are mad if they think this hodge podge of routines on a magnetic timeline is a guarantee of anything but obscurity?
we – look – we all know this software is largely dead outside this forum. you guys can say any number of things about unseen people – but we kind of really know its true.
the point is that Apple made a mis-step, they thought they could parlay a living pro-marketplace brand into whatever they liked.
that has utterly failed.
Apple’s only recourse, if they value the network effect of underpinning media production (as opposed to adobe taking it) is to knuckle under, bow the knee, beg forgiveness, make tracks and homogenise their efforts to the pro market.
there are no hidden hordes coming to save them. FCPX is a dead, dead letter.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Charlie Austin] ” But, if you think you might like to have instant access to your original sync, without matching back, or clicking a sync marker or whatever you’d “normally” do, just do this one extra 2-3 keystroke operation. This isn’t a workaround at all. It’s a new, and pretty useful, workflow technique. “
mmm.
[Charlie Austin] “I’ll admit that maybe sync markers would be nice for connected (disconnected) clips.”
seriously – charlie – they’re not nice, they’re basic no?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Charlie Austin] “And I’ll admit to being a bit confused by it, but maybe I get it now. You don’t “have” to dupe the audio, you can just work with connected clips as normal but… I think he’s saying that, if you need to do some dialog upcutting or whatever, rather than disconnecting the audio, simply select the range you need, copy it, disable the component channel (V) Paste the copied audio as a connected track, do whatever you want, but if you need sync audio back, or even just a sync reference, simply reenable the component channel. Essentially once you cut in pix with sync audio you never need to “match back” to get the sync sound back,”
man Charlie, I don’t know – this seems really arcane bandage workflow stuff – if 80-90% percent of employed editors (thats a minimum realistically) are operating on systems (avid, FCP, Premiere) that bear no resemblance to this X timeline and these kind of limitations, these kind of workarounds, what exactly is the chance of this kind of macgyver jerry rigging taking off in broad practise?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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in validating your opinion Steve, you have regularly referred to your experience as sometimes the entire basis for validating your point. you finish with – trust me, I’ve been doing this a very long time.
It is, I would say, fair to question someone’s arguments based on the fact that they are giving forth in an editing forum, without actually being, you know, an editor. I’m not the first person to raise this point.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics