Chris Harlan
Forum Replies Created
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[Steve Connor] “we’re made of sterner stuff over here in Blighty
“Carry on, Editor!
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[Charlie Austin] “[Chris Harlan] “Not all brains or projects work the same way.”
But, but… If that’s true, how will we ever reach Hive-Mind Nirvana!?”
Oh, man! I expected that X was all NWO! Now, here’s the proof!
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[James Ewart] “Am I being obtuse?
“No. Not at all. It fits the way you like to edit, and it serves you well for what you have to do. Not all brains or projects work the same way.
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[Jeremy Garchow] “Not tracks (although you can NAME tracks in Pr which is also nice) but clips. The color coding of clips in Pr is awesome.”
Ah. I just used clip colors in Pr. on a large sizzle and found them useful. Comedy became one color, new shows another, returning shows another, movies another, etc. I found it useful in contemplating balance and product representation. I doubt, though, that I would use it in most other situations.
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[Jeremy Garchow] “It is also video and audio, not just an audio clip.”
Ah! You’re talking about where attached audio goes when you bring in video. Yes, patching is the way to go, but I don’t think about it much because those are the tracks I keep patched–1,2–and I drag other dia on those tracks downward when I’m looking to overlap.
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[Charlie Austin] ” if X gets Logic style Track Stacks or some sort of new invisible Compound Clip thingy, it would be really really versatile. I know they’re working on it, I have no clue as to what they’ll come up with or when it will appear…”
Sounds cool. I’d like that.
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[Jeremy Garchow] “[Chris Harlan] “One of the great new things about audio in Pr is that I can assign that whole region to a sub and treat the sub as if it were a single track.”
And the color coding. Oooohhhh the color coding.
“Can I? Color-code tracks? I do that in Avid all the time. I didn’t know Pr had picked it up, too. I’ll have to look.
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[Jeremy Garchow] “[Chris Harlan] “But patching isn’t the only way. You can drag audio to any track you want. You can completely bypass patching if you want to.”
If the timeline is empty, yes, but if there is audio already in the timeline, then you can’t throw in a clip as easily as you can in FCPX.
“I can drag a piece of audio from either the source monitor or its bin straight to track 7 without batting an eye. I can do that in Pr and in MC. Why do you think I can’t? Yes, I can arm or lock tracks in a way that keeps that from happening, but I don’t have to. I know this because I do this every day. Why do you think differently?
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[Herb Sevush] “[Charlie Austin] “I do wish there was a way to automatically pin mx to the bottom and dia to the top or something,”
Yes, that would change my whole outlook on the trackless idea.
“Mine too.
[Herb Sevush] “[Charlie Austin] “I should probably qualify this by saying that, other than keeping cut music together at the bottom and VO/DIA near the top, (do-able in X as well with a tiny workaround) I don’t have a very organized timeline in any NLE when I’m cutting.”
I think this has a lot to do with your acceptance of trackless, since you didn’t use tracks as an organizing tool before, your not missing anything now while gaining everything that X has to offer. In your case X makes a lot of sense.
“I edited that way for years, but I’ve found over the last six or so, that I really benefit from an organized audio structure. It makes for great navigation and gives me a lot more feedback about what is going on. This lack of visual organization is what I most dislike about X.
[Herb Sevush] “[Charlie Austin] “I rarely, if ever, have less than 16-24 audio “tracks” in my timeline. often more. So that probably colors my preference…”
I would think so. I’m generally cutting with 6 to 8 tracks, but on those occasions when I’m using much more I have a specific layout that dedicates one monitor (I have dual 23″ screens) totally to the timeline. 16 tracks are no problem that way, I haven’t tried it with 24.
“I generally have 12 to 20 tracks, and break them down into wider bands, so that SFX, for instance, is a region about six tracks thick. One of the great new things about audio in Pr is that I can assign that whole region to a sub and treat the sub as if it were a single track.
[Herb Sevush] “As I said to Jeremy, I do find these conversations about specific workflows very interesting and enlightening.”
Agreed. Its the main reason I keep coming back. That, and that I need the eggs.
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[Jeremy Garchow] ” but is track patching really the only way to go about adding audio to timeline? Does it really HAVE to be that way? As much as tracks help, don’t they also dictate a very specific and certain way of working? “
But patching isn’t the only way. You can drag audio to any track you want. You can completely bypass patching if you want to.