[Alban Egger]

I have read the top ten new features on a blog and was kinda underwhelmed from a distance. It always looks great when they treat you, but leaning back, trying to digest it all coming over the twitter feeds and knowing what I have in FCPX…..I don´t know what I expected of Adobe. Maybe to finally give up the track-paradigm .. haha.
The dogfight between those two has now begun and we can only make sure to know both…..

[Alban Egger]

Yes, maybe. It was also “might”.
But considering what was said a year ago, FCPX has gained some leverage in the market again. And that alone is a step forward for Apple.

[Alban Egger]

You are right, when spatial conform is none you should be able to zoom in.
Is the timline definitely 720? Drop a 720 clip on first. Maybe it was set to adjust to the first clip and that was 1080??!! That would be my guess.

[Alban Egger]

[Walter Soyka] “The data store itself is not as important as what the developers choose to store in it, what methods they provide within the application for accessing and manipulating that data, and what interchange they provide for third parties to access and manipulate that data.”

That is absolutely true.

But once you are used to sort your media with metadata, there is no way back.
To create a bin of clips with specific format or resolution created on a certain date with a mix of keywords and maybe marked as favorites in an instance out of thousands of clips and dozens reels and cameras is only possible with a database working in the background.

It might seem to be Gmailish- “search – not sort”, but it is a reality in many productions nowadays. Footage gets piled on an editors desk and the deadlines don´t always allow for logging in all possible ways that might not be even known on the first edit or to the first editor or director.

[Alban Egger]

[Andy Neil] “You can create a gap clip to place in the primary storyline up to the point where your close goes. Then you can use the overwrite command when editing to overwrite the gap until you get to the end. It’s kind of the same way you’d edit on FCP (only you don’t have to add slug at the beginning).
“

The easier way which doesn´t force you to overwrite is to make a GAP clip or even a title clip of the needed length and drag it below the primary to have it as a guideline. Then simply turn it off with “V” so it doesn´t need rendering (if you use a title clip)

I did that first. Now I just keep an eye at the bottom of the timeline where you always see the total time of your project anyway.

We are having very often frame-accurate runtimes with no issues at all.

[Alban Egger]

[Mark Dobson] “I have to really question why I still use it for professional work”

Because it helps you do it and because you pürobably deep down are very much aware that no other NLE will be perfect for every project?

[Mark Dobson] ” But for me, the spinning ball, force quit, trash preferences and relaunch is very much part of my work pattern.”

I have no issues at all. No beachballs, no crahse4s for weeks, no trashing of prefs needed. I use it on a 2009 MacPro and a 2011 Macbook both with 16GB RAM. FCPX is much more stable than FCP7 ever was since 10.0.2.

[Alban Egger]

The only problem I read about is this: if you had audiochannels turned off on a clip in the project, you can’t turn them back on. You will have to drag them down from the event again to get all tracks back.

No problem with matchframe and 3-point editing, but it takes time if you have many clips to fix.

[Alban Egger]

I am currently testing the plugin and let you know. We also need xdcam422HD with 8 audiotracks as MXF

[Alban Egger]

It works fir over a year. There are still many who read about 10.0.0 and never checked the 6 updates that brought pretty much every feature needed to deliver to broadcasters.

[Alban Egger]

[Jeremy Garchow] “Let’s say two weeks from now client calls and needs changes. All of the clips from one keyword collection in my timeline have failed legal due to lost name and likeness releases, and I need to reedit the piece to get rid of one location.

I take all the clips in the Event that have failed legal, and reject them.

But, since there’s PIOPs, only the PIOP range gets rejected, not the entire clip, so when I go to hide rejected, only the PIOP ranges disappear instead of whole clips.”

Select a clip and type “X” and the whole clip is selected and ready to be rejected. If you have a lot of those spread over the place I understand this could be a problem, but I cannot remember any project I ever had with this being an issue, that wouldn´t have been solved by the keywording I did beforehand. And even if, the benefits of having Favorites AND ranges far outweigh this singular issue IMO.