[Andy Neil]

[Josh Cook] “Why isn’t there someone simply coding a new edit software from the ground up that takes advantage of current hardware that blatantly copies the design of FCP7?”

Because writing an NLE from the ground up isn’t easy. Just ask blackmagic design. Without an existing foundation to start from, it would take years and lots of coders to get anywhere near approximation of final cut 7. By the time you finish, it would be completely obsolete comparative to the existing NLEs out there.

Besides, people like FCP 7 for it’s editing paradigm and it’s familiarity. Any new editing software that skirts around Apples patents without violating them would require it’s own learning curve so you’d be in the same place as the other software companies.

I recently had to edit something in FCP7 and let me tell you, that NLE feels really damn old.

Andy

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[Andy Neil]

Interesting. I would not have thought to try and do several passes at it. As it is I doubt my computer would’ve been able to handle a 40+ angle multi clip. I had to transcode to proxy halfway through the project because it was having a hard time playing back 13 streams of pro res.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

As Robin says, it depends on your computer. Bye 2010 Mac Pro tower with 32 GB of RAM handles basic H264 fine. But it starts to choke on multi-clips larger than five streams. This is a processor issue because H264 is processor intensive to decode on the fly. So when I’m working with multiclips, I make sure to transcode. If I had A newer Mac Pro I probably wouldn’t bother.

You’re going to have the same problem with Premiere unless you have a CUDA card installed. Premiere handles H264 better only when it can leverage the Mercury playback engine.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Yes. FCP X can edit H264 natively.. It can also transcode your footage to prores while you work so there’s no down time at all.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Yes. What you need to do is make sure that the cursor is inside the confines of the clip. If the trim tool is selected, and your cursor is inside the clip, you should see a mini scanner. Let that mini skimmer hover at the point you want and use the period and comma keys to do your slip. The play head will still jump to the head of the clip, but the viewer will show the frame under the mini skimmer.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

When you reimported, did it get rid of the other 3 channels or are they still there? The point I’m getting at is if they aren’t really silent, but just low and at an opposite phase or close to of Ch 1, then there could be some kind of cancellation going on when it’s dropped into the timeline.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Michael, you may have a phase issue of some kind. Open your clip in timeline and delete the other three audio clips.

The “remove silent channels” is at the bottom of the import dialog box. When importing a clip make sure this is checked and FCP X won’t bring in those channels.

Bill,-12 DB might be unity for most video productions, but FCPX should not be auto attenuating clips placed into the timeline. That would be a nightmare for mixing.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Did you have “remove silent channels” checked in your import dialog box? Have you tried opening the clip it’s own timeline?

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Interesting. What is the channel configuration of your audio? How many tracks? Is the waveform any different (ie: smaller) when in the timeline?

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

[Robin S. Kurz] “I have had shots that literally couldn’t have been distinguished from actual high-speed shots after slowing them with optical flow applied.”

You can get decent quality slo-mo from a traditionally shot video, but it will NEVER look like a natural pan and stop done by a camera op. It will still look like an effect. OP is looking for something that looks like a natural stop to a pan and I’m telling you (and him) it won’t ever look natural. That doesn’t mean you can’t apply a slo-to freeze effect and get decent interpolation out of it, just don’t expect it to look like it was shot that way.

Andy

https://plus.google.com/u/0/107277729326633563425/videos