[Alban Egger]

Well…I just did hire a guy.
Condition: FCPX, Motion, After Effects.
Yes there are more paid FCPX jobs out there than you might think.

[Alban Egger]

[David Lawrence] “The guiding philosophy behind Apple UI design is that computers should work the way people intuitively expect; that the computer should adapt to the human, not the other way around.”

That is exactly why finally Apple dropped the FCP7 approach.
When I take a clip and move it elsewhere I want to do that. But in FCP7 I maybe can´t, hmmm , why…oh of course, because when I move the clip from Track one to track two I move the audio at the same time to tracks 3 and 4…but I locked 3 and 4, because there is my music bed.

X more often than not (and more often than7) does what a human wants it to do. !!NOT a seasoned FCP7 editor, but someone who simply wants to do a simple task of moving a clip from here to there.

Many call FCPX not-pro-ready, because it is making these tasks simplified and “too easy” and especially different from their conditioned work-patterns.

[Alban Egger]

[Herb Sevush] “[Charlie Austin] “and highlight as many things as you want, but currently it’s only one color.”

Which, in plain english, means you can’t isolate your distinct types of audio at any one moment, which means you don’t have tracks in any meaningful way.”

Yes you can. In my typical project I would import the sound effects and music into their respective bins.
Eg. stockmusic, SFX, loops, jingles. Whatever ou have prepared for the project (if you have always the same SFX/loops library it would make sense to have one event always open with those).

Now you create the roles (SFX, music, loops) and in the bin select the 100 SFX and add the role SFX. Do that to all various types of audio.

In the item list in the timeline you can now solo/highlight the singular roles. SFX could be all over the place “track wise”, but on export they will all come into the same stem.

And if you absolutely need a visual reference you can select the Role SFX and hit OPT-G to compound them into one long line called SFX, so when another editor comes he can see it even without the item list.

But color coded clips and roles are definitely a top-wish from many here to make the visual representation even easier.

EDIT: one more advantage of the item list/roles system: when you have a SFX called BANG and the client wants it changed into the BONG, you search the item list for BANG and when you click it then your playhead jumps right there. Fast and accurate.

[Alban Egger]

I have this problem with 720p25, 720p50 and 1080p25 material mixed in one 720p25 FCPX-timeline. Resolve won´t open the XML.

So the only possible workaround is to select the various frame rates (FCPX roles system might be handy here) and export them each as one session?

[Alban Egger]

[Jules bowman] ” I truly doubt I’m ever going to use FC10,…
There is nothing in it that makes me think ‘damn, i wish 7 or CS6 had that, and Plenty that makes me snigger at the thought ofnusing it.

Well, no. It is part of the present. It will remain so until Apple can it and everything goes tablet. But it isn’t the future in that sense of ‘oooh, jhc, that is the future.’

Well, FCPX has A LOT that I missed in FCP7 (but that were in other NLEs already) and a lot that I didn´t even wish for, but when going back to FCP7 I am screaming at it for being the clunky piece of software that it is.

FCP7 does some things right and good, so does PP6 and MC does a lot right and FCPX. They all have their strengths and weaknesses (well FCP7 is by far the weakest as of now, starting with the 32-bit foundation). Yes, FCPX has strengths. It has some holes still, but they will be filled, and it might have some weaknesses in current workflows. But for those of us who had and have the luxury the switch to a new workflow, because we are smaller units/groups, there is no way back to track based editing. Not the way PP6 and MC do it.

The future? We have no idea. I guess 30-inch retina-iMacs with 32GB RAM, 7770 4GB GPUs will make for a monster machine editing 5k like it was DV50.
In software I guess it will work like the google-office, where several people can work in a spreadsheet with different rights (read, edit etc) and one can see which cells are blocked, because someone works in them. In editing this could mean we can use the same event and I can give different rights (via the roles-model??!!) to different editors. So the sound guy can work on all clips that are music/dialogue/atmo and the graphics guy can use everything that is a still or Motion-based.

The very distant future might be that we don´t record in camera, but in the cloud and while we shoot the editor picks the shots already in the studio……..

[Alban Egger]

Andy, I find the way blend-modes and transitions work very inconsistent still. One of the really huge problems in X still.

it seems to be a problem in the order at which FCPX applies the blend modes.

You can try to open the video-animation tab (CTRL-V) and fade the clip with the opacity slider. Sometimes that helps.

Sorry for the bad info 🙁

[Alban Egger]

No. Doesn´t exist anymore.

I used REF-movies so I could send them to Compressor without an intermediate render (mind you, REF movies did render when you had effects applied). FCPX does send timelines directly to Compressor (“Send to Compressor” command).

[Alban Egger]

Digging out the old thread.
Have this happening to me now and it is not event related. I have 12 projects from one event and in one of those projects / timelines I am missing stabilization. Go figure.
It is not resolution dependent, I have 1080p, 720p25 and 720p50 mixed. Some clips are in other projects and work there.

I have not identified the culprit yet, but trashing prefs won´t help.

[Alban Egger]

[Oliver Peters] “Here’s a situation I frequently deal with. I edit a music bed as a connected clip. Then I make a music edit to have the piece end properly, which creates a minimum of 2 connected clips. If I do a “magnetic” trim between where the two halves of the music are connected, it will change the music edit point. A standard NLE doesn’t cause this to happen, because of tracks. So with X, I also have to think about whether to compound the music or make a secondary storyline. Or I have to alter the connecting point of the second portion before doing the trim. “

Well in these cases I use compounds, because often I end up with three music parts (Intro, Music extension or shortening piece and ending). I can freely move the parts until the rhythm and the bars fit to each other, fee them as needed, select them all, OPT-G, Done.

In track based this was more complicated. I usually had atmo in 3+4, music in 5+6 and VO in 7. Now when I have 3,4 and 7 occupied I couldn´t align the music parts above each other to align their waveforms to find the bars/rhythm quickly. And this is the reason why I find track based more constrained once all tracks are occupied. You need to move the music-pieces down or sideways to be able to align them on 4 or 6 tracks. In the magnetic timeline everything moves out of the way during the process and then you compound it and that seems way more intuitive than tracks (to me!!!)

[Alban Egger]

No i usually work and don’t troll forums. I got pointed at that particular thread yesterday and saw your comments which are ……uhm….. let’s call them funny.