[Charlie Austin]

[Oliver Peters] “My guess is that it’s probably fine on an entirely new project.”

I had a bunch of issues with audio configurations and compound clips on old projects/events. No show stoppers, just weirdness. Haven’t seen any of them on new projects. YMMV… 😉

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Herb Sevush] “And since I’m almost always in multicam mode, by sync I mean in timecode sync irrespective of whether the audio and video come from the same source. For me not having this capability is like driving blindfolded.

Makes sense… I’m never in multicam mode, but I can see what you’re saying…

[Herb Sevush] Tethering audio to the video it happened to be recorded with is like … well it’s like something I’d prefer not to do. But that’s just me.”

Honestly, for what I do it’s great. I work from (more or less) finished multitrack features, so I generally need dialog and maybe some FX. Now that audio is editable without breaking it apart from the pix there’s no real reason to split it off, other than that’s what i’m used to doing… If I want to move a chunk of on camera dialog, now I don’t need to select an audio and video clip, and then hope, (or perform pre-move track Tetris) I don’t overwrite something where I’m moving it to.

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Herb Sevush] “Call me when they have a time-code window and the ability to quickly re-sync unconnected audio and video.
“

Well, the main TC display has always been way easier to read than FC7’s and it follows the viewer, and you can see TC in source clips when you skim them in the timeline or browser. Maybe someone will come up with a plugin to show source TC from clips in a sequence on the viewer, but right now it’s trivial to see TC from anything you want. And, FWIW, now that you can edit audio and assign roles to individual channels while it stays attached to the video, personally I’ll just leave sync audio attached now. No real reason to detach it anymore unless the source is out of sync. But that’s just me… 😉

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Bret Williams] “But the reason that it confused me, was that the mask was animated. Apparently 1.0.6 now actually supports a moving image mask effect!”

Heh.. from bug to feature in 7 posts! 🙂 FWIW, since .6 handles CC’s differently… CC’s created before the update can’t be opened in a timeline by double-clicking, You need to use the “open in timeline” command. I’ve been busily copying old CC’s, breaking them apart, making new CC’s (which you must name and which then appear in the event!), and pasting attributes back onto them where applicable.

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Chris Harlan] “I don’t know, man. I have to disagree. I see an awful lot of stuff get finished in FCP. National broadcast spots. “

I stand corrected. Maybe I’m just out of the loop lately… We do finish some stuff out of 7 as well, but the majority of our material gets sent out to to post facilities using Avid or Smoke or something. New Wave, SSI etc. Guess i need to get out of my bay more often. 😉

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Aindreas Gallagher] “touche.

Still.

You won’t work in the primary though eh? how crazy a statement about the state of the FCPX timeline is that?
“

lol… I couldn’t resist, I know you’re not thin skinned so… 🙂

And I actually think that the fact I don’t have to work in the primary means that X is not as inflexible as some make it out to be. I can pretty much do whatever I want. The more i use it, the more I realize that there really isn’t anything I can’t do in this app that I could do in 7. I’ve had to figure out slightly different ways to do some things, but only because it’s *not* FCP 7. I’d have to do the same thing no matter what new NLE I started using. The caveat being that I don’t need to edit to or capture from tape. If ya need that then it’s probably not gonna work. We get nothing from the studios on tape anymore. They do still deliver stuff for broadcast on tape, but we typically don’t finish stuff here so it’s not a problem.

I do agree that there are some big shops that will ditch FCP for MC or Pr, though I think it’s more, as Tim said the other day, because maybe they shouldn’t have moved to FCP in the first place. So your point is valid. I mean, even now FCP “classic” has compatibility issues with finishing/delivery places. I don’t think there are many people, or any at all here in LA who’re using FCP as a finishing tool. I’m sure there are some, but the people who finish stuff that we do, feature trailers and TV spots, don’t. I posted earlier about some EDL’s i sent out from 7 that were just crap, unusable. The one I sent out from X was just fine. Go figure.

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Chris Harlan] “I think the reason that this whole conversation seems odd to me is that I perceive Motion as being part of FCP and one of the reasons I like FCP so much. I think of Soundtrack Pro as belonging to FCP as well.”

I wouldn’t be at all surprised if thats the “plan” for X as well. You can already right click on many generators and effects in the browser and choose to “open in Motion” or “open a copy in Motion”. Large chunks of Motion are already built into X, it’s probably not too much of a stretch to think they’ll add that “open in Motion” ability to effected clips in the timeline.

And audio wise, all the Logic plug-ins are already there as well. And roles can be nicely organized into tracks, X2Pro does it really well. How cool would it be to choose to “open in Mixer” and have it pop up in a Logic style window all organized for you? So you can dispense with worrying about tracks and patching and al that crap while editing, and just pop into the other “mode” to mix it? One can dream I guess, but it seems like a lot of the groundwork is there to do something like that…

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Aindreas Gallagher] “…any movement from FCP, that there has been, has been to either Avid say in the case of Mark Raudonis or Premiere in the case of Associated Press’s entire editing operation, there has been absolutely no moves of any significance towards FCPX.

I will attempt to reply in the style of, uh… you…

Never heard of the guy. And why should I care what some news agency cuts on? I work on projects in a specific market. Nothing else matters.

[Aindreas Gallagher] Also FCPX is … a weirdo, non-standard piece of kit, relying heavily on imovie originated metaphors that bears no comparison to its predecessor or its two main competitors… there is no standing skills base for FCPX, and it ignores a wide number of standing conventions.

Anyone who professes to be an editor has the “skills base” to use FCPX, clearly those who aren’t using it lack any real skill. MC and Premiere? Both based on conventions dating from the 19’th century. Lame.

[Aindreas Gallagher] Its broadly disliked, has shown zero market penetration …blah blah blah, Avid, blah blah blah, Premiere 6.. blah blah blah, It’s toast. I’m calling it blah blah blah, dead as say vegas,blah blah blah, no one cares. blah blah blah, FCPX blah blah blah, out of the mainstream of editing. software too weird, software too stupid.”

I think you are wrong. Since people I know disagree with you, and since I do not know you or anyone you know or any of your clients… I am right.

How was that? 😉 xoxo

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Walter Soyka] “[Jeremy Garchow] “Of your clients, has anyone adopted anything new, and by that I mean, completely tossed FCP Legend and started over from scratch?”

Not really. Most of the editors I am working with are not excited about FCPX (perhaps they haven’t given it a fair shake). I have been fielding some questions on Premiere from editors I know, but that could be bias as they know I am an Ae guy. Almost all production I’m seeing is still wherever it was (Avid or Legend).”

My guess is the people haven’t given it a fair shake, especially editors who are seen as “real pro’s”. It really is the Cold Mountain effect, though at that time everyone was talking about how cool FCP was, and it had already made inroads into places that “pro’s” https://www.apple.com/hotnews/articles/2001/04/trailerpark/“>took seriously. 😉

Now, – think mainly due to the way Apple launched X, – “everyone” says it sucks. With classic, people were willing to work through the bugs, and there were tons, because it was so much cheaper, and really easier to use than MC, which was the standard. Now in many ways, FCP Classic is the standard, and X is getting the same hate from *classic* editors that Classic did from Avid editors.

So X has not only the normal “I hate the new thing” mindset to contend with, but also all the negative ranting from people who maybe opened it up when it came out, saw that it looked like iMovie and crashed a lot, and proclaimed it awful, unprofessional, and dead. They’re still proclaiming. As a result, nobody “influential” in their eyes is using it, so they’re not gonna try either. There are some folks who need something specific to their workflow that isn’t there yet for sure. But I think a lot of folks aren’t giving X a fair shake not because it sucks, but because many people, most of whom have no idea what they’re talking about, say it sucks. When I tell the guys at the post house we use that I’m cutting in X, they’re genuinely surprised. Same with other editors in our little Hollywood promo niche. They’ve heard it’s not useable.

Eventually, a Cold Mountain moment will occur. I mean, it actually sort of has… there are quite a few high profile people using X, but the wall of negativity is so high that everyone seems to discount them. Maybe it’ll take 2 or 3 Cold Mountain moments to overcome it. I’m trying to do my part. Not because I’m some fanboi, but because X is pretty awesome. I really like cutting in it, warts and all. I don’t have any desire to wade back into the world of MC and Premiere. I’m a pro, I work for big fancy movie studios, and I prefer FCP X. I think some people are listening too. 🙂

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Jeremy Garchow] “Incompatible how? I can put an FCPXML in to Resolve and puke out an XMEML. Same with RCXPro and Xto7. I am sure there will be more options in the future.”

Random side note… I just sent 3 spots to finish, one cut in X for one project, 2 cut in 7 for another. For the X spot I sent an aaf from X2Pro, and a cuts only EDL-X EDL… worked perfectly.

For the other 2 FCP 7 spots, I sent an omf and edl’s generated from within FCP 7. Audio was fine, EDL’s were totally messed up, all sorts of zero frame edits, they were useless. Granted, it wasn’t cuts only, and EDL-X has some issues with transitions in EDL’s also, but still, after all the years 7 has been out it still didn’t work.

Point is… the nice thing about the EDL-X problems is that I can (and have) email the developer, send him the problematic files, and he’ll hopefully be able to sort ’em out and fix them. There’s something to be said for 3’rd parties providing critical features. Same is true of X2Pro, and all the Intelligent Assistance apps. Any time I’ve found a bug or had a problem, I’ve had a fix/workaround almost instantly. Not the case if it was a problem with an in-app feature, ya gotta wait for the next version, which doesn’t help when the deadline is uh… now. 😉

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~”It is a poor craftsman who blames his tools.”~