Aindreas Gallagher
Forum Replies Created
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[Charlie Austin] “It’s archaic. ;-)”
it is a continual astonishment to me that everything that is busted or half implemented in X is also, by lucky coincidence, archaic and sooooo last century.
lads. seriously. X has a crappy dissolve tool. If you had a better one, i suspect you would be using it a lot more.
no take backsies, times infinity, Andy win. 😉
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[Jeremy Garchow] “Think of it this way, a fade handle can equate to half of an audio dissolve. You can create the asymmetry on the other audio clip, “
yes. sweet jesus kids – instead of a functioning edit point operation on the audio – you’ve doubled everything up and are working two separate pieces of audio.
I really do truly understand that, better again, i’m taking issue with the fact that you end up having to do that all the time because you have, well, a nearly useless audio transition tool…backing away… I’ve slipped off my shoes and I’m backing quietly away… 😉
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[Charlie Austin] “if you must have a dissolve just make a secondary. “
wait – ah hang on – isn’t that audio dissolve going to be still locked to the centre point of the edit?? seriously – you guys are melting my poor noodle.
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[John Davidson] “With this, you can sub frame edit with such precision that it’s sick.”
but sure john, sub frame editing isn’t the issue – I, you know, am sub frame editing. The issue is being forced into AB editing to get asymmetrical controllable audio transitions?
On audio post methodology, I’ve seen quite a lot of it – in the place where I am there are ten year fairlight guys – they use fade handles John… they use them an awful lot? They have the singular advantage of sitting sperate from the audio material, and in fairlight you can tweak the hell out of them. if you don’t like it, you delete them with a click. Your AB carry on lacks that virtue!
[John Davidson] “To your point of cut downs, rather than start with the :30 and cutdown to the :15,”
nope – on that I mean going about the act of cutting down a three minute commercial track to a 30″ you know?for whatevers – I just did this one for a promo. Vampire weekend. V.Tricky track!
Lot’s of asymmetrical dissolves and edits john, sneaky little ones…. 😉
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[Jeremy Garchow] “You can still keep the edit point and do what you need to do,”
but jeremy – you don’t have an edit point. If we’re talking about a music track cutdown, what you then have is an entire series of AB music edits all across the spot.
It’s not a good solution – its the lack of a functioning dissolve, resulting in the need to start AB editing your music audio edits.
Instead of a simple roll edit say, you’re now talking about having to extend one end of the audio AB and trim the top of the incoming music edit. that’s madness.
For want of a nail etc was lost. for want of a functioning dissolve you guys are jumping through hoops. You haven’t adjusted to a new interesting paradigm – it really does look like you’re jumping through hoops.
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I’m not sure I agree with this at all. I will do keyframe based stuff overlapping if I have to, – say to get a tune to really imperceptibly fade out coming into IV – but one way or another you’re simply avoiding the fact that that dissolve in X is not very usable. If I was in your situation, I would probably be doing what you are doing, but I’m not.
The reason why I think an actual edit point you can act on, with asymmetrical dissolve handles is so madly useful for music edits, is because you can use the slip and roll tools either end of the edit splice to fine tune the patch at audio sample level, while adjusting the audio transition dissolve either side of the cut to favour which ever side the beat match is on.
In short: your situation breaks the ability to perform edit point based audio slips and rolls while adjusting the incoming and outgoing dissolves to fine tune the audio patch. Although in your screengrab you seem to be AB editing two different pieces of audio: again, I’m talking about music cutdown editing for spots. something I figure we both do a lot of.
What you have is two disconnected overlapping fade outs in effect. I don’t think that’s in any way near as effective to my way of thinking – although I know! – legacy thinking andy..
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[John Davidson] “End of the day, I think that might be a legacy X thing. After a while you forget you ever did that. At least I did.”
do you not find you miss it? Particularly for audio? asymmetrical dissolves for things like music transitions are pretty seriously important I find, particularly when cutting down a complicated track for a 30″ – you sometimes really need to favour the incoming or outgoing track section in the dissolve to make it effectively blend? Like a matched build section from a later portion of the track – you nearly never want it to keep going after the edit point bar a little bit. A lot of the time for me the dissolve is a matched lead in or out. It’s rarely both?
I just played with it in X – unless I’m missing something really obvious, I don’t see how that dissolve is not near useless for audio?
the fact that there is rolling trim built in by hovering at the top of the dissolve feels pretty weird too? also has anyone tried a rolling trim off the left edge?
your timeline ends up looking like this? Or mine does.https://i.imgur.com/0WIzWdC.png
the only way to get X to snap out of it is to go to another sequence and back. Has that been like that for the last three years? because if so, thats pretty funny.
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[Charlie Austin] “the missing overwrite paste (insert works jus fine thank you),”
come on.
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timeline still bugs me. David Lawrence is running logging through it, so on some level it’s turning out to be the ‘first cut’ application Ubillos actually designed it to be.
tiny rant: It’s weird that people ignore the fact that the cardinal timeline decisions he took in showing it as first cut to jobs are equivalent to the timeline control available in prelude – although ubillos radically expanded it after the order to make it the entire editing basis. It’s a massive pity in a way. Cook, you would think, would never be so insane as to go that intellectually Khmer Rouge Year Zero on editing understanding off one meeting you’d think.
but Ubillos’s intention was for an incredibly rich logging application with a basic staging precursor timeline. you’d still think that’s what X is. The timeline is loaded with immediate quick construction aids, and the footage organisation demands a ton of the GUI and is incredibly powerful.
there’s no getting around the manner of X’s birth and the crazy signals in it. Everyone keeps staring at the footage organisation, and Scott Simmons just asked why the timeline GUI space is still there when it’s not needed.
the footage organisation is a faberge egg, the persistent inspector applicable to multiple timeline instance audio channels and that stuff is madsers, the power masks hanging off every clip still beat the current adobe kludge for style if not tracking…
Its the timeline. the secondary storylines, the connected cousins, the no audio paste, the ridiculous white dot, the stupid tilde key.
You’d think, particularly after resolve 11, the X timeline is a gigantic honking elephant in the Cupertino software room.
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ah jesus – i swear to you – I did actually write – ‘but when that camera was overhead what the hell. were they kicking them?’
but then i deleted it. I do regret that now.also those things are not lemmings; they’re tribbles. In the atlantic.
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