Bill Davis
Forum Replies Created
-
[Shane Ross] “But, as also pointed out…all things we have seen before. It’s not showing anything new.
“Got it. X is nothing new. The last six years of debate were worthless. Because everything is just the same as it’s always been. Nothing to see here. Move on.
Still, it’s astonishing in the light of that – the moment someone posts a piece that describes a difference that X brings to the table – so many have to LEAP up and declaim that it’s NOT really any different – that every OTHER option also does all those things. Just as well. And always has.
Lets cut to the chase of this part of the debate. Either eliminating friction in re-arranging story elements as blocks – IMPROVES storytelling – or it does not.
You can ASSERT that leaving the extra friction in is unimportant because editors can still concentrate on the story if they like – which is true.
But to me, the friction matters. A LOT.
If it didn’t, nobody would use keyboard shortcuts for anything.
After all, those are primarily ways to remove friction in actions that are perfectly possible via other means.
So in that sense, magnetism is a massive virtual persistent “keyboard shortcut” for story arrangement.
You can argue that you don’t want to use it. And that you are perfectly happy using a menu selection instead of a keyboard shortcut. And that’s your right. But don’t tell me I’m not practically faster at making story-centric alterations and versions via the X magnetic system – because I know I am.
Simple as that.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Shane Ross] “He is saying that with track based editing, we focus on needing to put the clip on the timeline based on timing only. “I need this clip to happen at 1:00:45:12.” Only, again, no one does that”
But he’s not. If he was saying that, he could have written “the editor is required to focus on…” but he didn’t say anything like that. It’s what you might have THOUGHT you were reading – but it’s not what Ruben actually wrote.
IMO, about 80% of these arguments is that the reader is reading what’s written through their own bias filter.
I will TOTALLY cop to that myself.
I’ve read things here and completely mis-construed the reality of what was being said, due to my default thinking.
So, if *I* can freely admit that – can you Shane? That we BOTH color our perception of things NOT meant to be as provocatively as we see them – into a hyper provocative reading that isn’t necessarily based on reality?
Just asking.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Shane Ross] “Where is the interview audio? Where is the scene audio? Where is the music and SFX? I can tell you right away by looking at this timeline. Interview is in Blue, and always on A1-A2 (some bleed to A3 if a third person is present). Scene work is always A3-A14. SFX – A15-A19, MUS A20-A21 and VO A-22. And I color code my tracks so I know exactly what is where. Interview is blue, scenes are green, SFX is salmon, music purple, VO yellow. I can see in an instant what is where. “
I understand that you are super fluent in “tracked timeline.”
Thats great.
But there are plenty of people who are EXACTLY as fluent in “non-track-based timelines” now.
They work as fluidly – and as efficiency – and as creatively as you do, IN THEIR LANGUAGE.
It’s like speaking Spanish verses speaking French.
If I was to assert that one of those was “better” than the other – both sides would howl at me with derision.
As well they should.
That’s what I’m afraid is happening here.
So I’ll leave it at that.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Shane Ross] “You are arguing with me and countering with things I am not even talking about.”
Sorry, but your original post seemed to me to be doing exactly the same thing.
Arguing against the article for somehow not “honoring” things it wasn’t discussing.
I didn’t see anywhere in it that said, for instance, that editors who used other software were “wrong” in any way. Nor that their systems couldn’t do things X can do.
But that was the impression I got from your original post.
Sorry, if I misconstrued your intent.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Shane Ross] “No editor…no GOOD editor ever said “I need music to happen 45 sec and 12 frames in.” “
You didn’t say it.
BUT:
When you put that clip on a timeline where the timelines OWN functional system REQUIRES that element to exist at 45 sec and 12 frames – that’s what the program was MAKING happen. And that clip stayed at 45 second and 12 frames – regardless of anything else you did subsequently. Unless you moved it. And EVERYTHING around it while lassoing and grouping things to maintain sync.
Just because you – as an excellent editor – maintained your focus on the story – and therefore didn’t realize that’s what you were doing – doesn’t mean the program wasn’t making you do EXACTLY that.
Storyline timecode in X is fixed only for the state your edit is currently in. And floats otherwise. Which is lovely, once you get used to it. The timeline breaths, expands, contracts and morphs as it’s construction demands. It does NOT lock anything you put on it to ITS time.
If you choose to edit in a 10 frames clip 15 seconds into your entire 1 hour long project – in X a clip formerly at 0:45:45:12 – floats to 0:45:45:22. Automatically. Preserving it’s position relative to the assets around it (b-roll, sync sound, etc.)
That’s the whole point of X.
Seriously. ????
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[greg janza] “The primary story line is just a new way of describing A-roll.”
NO – IT – IS – NOT.
It’s a magnetic assembly area that works DIRECTLY with the browser database to rapidly assemble prepped assets into vertical and horizontally connected asset groups. Prepped assets that can be imbued with the editors actual EDITORIAL INTENT before they arrive.
To artificially imply “it’s just a new way of describing A-Roll” reveals a pretty stunning lack of understanding of how FCP X functions at the most fundamental of levels.
My 2 cents.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Double post, sorry.
-
Neil,
Great. Please articulate WHY they are horrible assumptions.
We can all learn from a discussion of THAT – more than just the assertion.
I’m perfectly ready and willing to learn about situations where tracked crushes trackless in agile asset arrangement.
So can you give me a few examples we can talk about?
Thanks.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Shane Ross] “But that, again, is a practice that predates this magnetic timeline, so for him to say it’s something new was one of those BS statements I was talking about.
Later on his points are good, but the opening of the article is just poop.
“Only if viewed from one perspective.
Over and over in the X debates – people have pushed back with “but MY program does that too.”
And yes, it does. Of course. But not the same way. At all.
The real, functional difference is that the entire point of the X rebuild was to RE-ARRANGE the entire program to move those things that every NLE does such that many of the processes used to build and arrange stories have new conceptual operations that make them easier and more fluid to execute.
It’s not that you CAN’t move the constructed block represented Scene 3 of your timeline three scenes later. Everyone understands that you can. Everyone understands that ALL NLE programs allow that.
But the way X is arranged, it’s moving ONE clip. And that extraction and re-positioning EVERYTHING else around to accommodate that change is made vastly easier. Why? Magnetism.
Thats what Ruben was saying in his post.
Tom Carter posted this https://www.youtube.com/watch?v=pRZgVZd9UmQ
TWO YEARS AGO.
He did the move in a tracked NLE – and he did the same move in X.
The only thing different is that magnetic persistence of the editors original intent – as it now works in X.
That’s all.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
[Shane Ross] “I’m sorry, what? What does that mean?”
That is precisely what the magnetic timeline enables.
Persistence of the editors DECISIONS.In X, once you connect one asset to another, a RELATIONSHIP is formed between those assets disconnected from and not subservient to their timeline position.
A relationship that sticks.
Simply that.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.