Andy Neil
Forum Replies Created
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[Dominic Deacon] “As far as I’m aware everything else only has one and FCX is without.”
FCP7 has multiple source windows if you want to work that way. As a narrative editor myself, I don’t really see the point, but hey, whatever floats your boat. FCPX does not have that, unless you count the multicam window, but it’s unclear if it will remain that way. But it’s incorrect to say it has no source window. It has a dynamic viewer which shows the source when scrubbing source material.
[Dominic Deacon] “I want a ripple mode that can be switched on and off. Combined with tracks lock this makes first assembly so quick and easy and then you can just toggle them off when you start fiddling with audio etc.”
I don’t know what you mean by this. FCPX’s “ripple” mode as you call it can be turned off by using the position tool. But I’m not sure what you mean about FCP7 and Avid not having it at all.
[Dominic Deacon] “I want a decent titling tool in the program that’s not a nightmare to use. I think that’s all of the options out.”
FCPX has the best NLE titler out there in my opinion, so I don’t get why you think no NLE has anything to offer there. And if you spend the $50 for Motion 5, you get even more flexibility with it.
[Dominic Deacon] “Why are audio capabilities farmed out to other programs (eg Audition in addition to Premiere)? Why can’t they sit in the same program?”
NLE’s are complex programs. So are DAWs. They both have different workflows and needs. Trying to combine a DAW with an NLE and having it actually be able to work is a daunting task. Perhaps in the future it’ll happen, but I hope not. That would make the software needlessly bloated and difficult to use.
[Dominic Deacon] “I want footage not to be overwritten when something covers it on a track. I only recently started working with DAWs and this has been the discovery for me. Cover one piece of audio with another and the original is still just happily sitting underneath. Beautiful. Why don’t NLEs do this?”
This can be done in FCPX by dragging one shot over another and choosing, Add to Audition. As for why NLEs don’t do this all the time, well, video can only be seen one track at a time. Audio (as in DAWs) can be layered to be heard simultaneously. The paradigm is different.
[Dominic Deacon] “I want that little arrow select thing from FCP where it selects all the footage in the direction of the arrow from where you are on the timeline.”
Yeah, something like that’d be nice.
Andy
https://www.timesavertutorials.com
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[Bret Williams] “Don’t keyboard users just look fast?”
No. It’s quantifiably provable that keyboard shortcuts speed up the technical aspects of editing and with less stress to the hands than a mouse. They don’t just look fast, they ARE faster.
That said, I’m a fan of both my Wacom tablet and the magic trackpad. Both are easier on my wrist than a mouse, and even the most hardcore shortcut user needs to use a mouse from time to time. It would be nice to combine keyboard shortcuts and a pointing device into one solid interface.
Andy
https://www.timesavertutorials.com
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[Gary Hazen] “They’ll be the ones with arms like Popeye.”
Or else they’ll be the ones with computer monitors at a slight incline to the surface of the table instead of perpendicular.
Andy
https://www.timesavertutorials.com
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Touchscreen has some uses, but it just doesn’t make sense for extended computer use. Might as well skip it until you can invent a visual/thought based interface.
However, touchpad editing might be doable. Issues with fine control can be addressed, I feel, without making the interface clunky. And having a dual hand multi-touch pad in front of you would be much easier on your hands than a mouse, keyboard, or other pointing device.
Andy
https://www.timesavertutorials.com
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[alban egger] “really why do you need 50 SFX tracks”
Well, some SFX are layered, stereo or even already in 5.1. In FCP7, each stem requires its own track. But in FCPX, stereo and surround audio are expressed as single clips not 2 or 6 or 8. You don’t even need to use compound clips and it could still look more tidy in the timeline.
Andy
https://www.timesavertutorials.com
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[Joseph Owens] “What if the associated audio is not specifically “footage”, but is independently imported?”
I did a tutorial a while back that serves as a primer for the Roles feature. You can view it here:
The simple answer is that FCPX assigns a role to all footage, digitized or imported. Depending on certain factors, it will assign specific default roles to imported audio (ie: dialogue, fx, music)
However, Roles are customizable, and you can create whatever roles you want to satisfy whatever organizational structure you want to work with. Clips can easily be assigned roles in the browser at any point in the editorial process. So, if you like, you can have an LFE role and assign it to individual stems (although I probably wouldn’t use roles that way since X can handle surround audio as a single clip).
You can even have sub-roles which are roles that are within a larger category of roles. For example: Inside the FX role category, you can have a sub-role called “ambience.”
Hope this helps.
Andy
https://www.timesavertutorials.com
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I was disputing the fact that it was not possible to have a timeline that complex. And you agree, it’s entirely possible in X.
[Shane Ross] “But how about YOU, the editor, knowing what is what, and what is where?”
[Shane Ross] “Yes, you have ROLES, but does that help you see what you have where?”
Yes, as a matter of fact, Roles DO help you see what you have where. By organizing your footage into roles (custom or otherwise) you can isolate specific roles in the index. They highlight what you’re looking at, and darken what you don’t want to see. You can even minimize the clip track height of the roles you don’t need to see, while keeping the clips you DO want to see at their maximum clip height. Furthermore, you can select isolated clips from the index and jump the timeline view instantly to that spot in your timeline. So, in fact, I would suggest that as an editor I would know what is what and what is where even better than Murch’s spreadsheet look.
It may not be how you (or he) want to work, but that’s a far cry from saying that FCPX isn’t capable of it.
Andy
https://www.timesavertutorials.com
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As someone who has designed similar transitions for FCPX, I can tell you that there are actual “under the hood” issues with the way FCP interprets Motion replicator instances. You don’t always get a correct translation between the two programs and in particular, this exact transition is one that cannot be properly accomplished with replicators (believe me, I’ve tried)
You can get the desired result using clones however, but there is a caveat: this will significantly limit the number of “tiles” you’ll be able to add before the transition bogs down the program or causes instability. I would not attempt to do more than a 3-4 columns/rows in your grid.
The integration is just not there yet.
Andy
https://www.timesavertutorials.com
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Yes. That’s how it should work. You cannot lift connected clips from the primary storyline because they are not in the primary storyline. So do not select them when you want to perform this function.
Andy
https://www.timesavertutorials.com