Chris Harlan
Forum Replies Created
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Mine still tells me that everything is up to date and lists all my files as CS6 (or earlier.) Did I need to download a separate set of program files?
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I’m not seeing it yet, here in LA.
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[Oliver Peters] ” guess the part I’m having confusion with is this. You are referring to the fact that a media file is being stored in the Shared Items folder – if and only if – you select one of the presets, like a DVD or a Vimeo upload, where that’s part of the macro. It doesn’t happen at all if you choose to export a Master File from the Share menu. So yes, X has a cleaner workflow with some built-in functions, but I fail to see how that is inherently different than what went before it.
For example, if you export a Master File to an external drive and then archive your Events and Projects. Then there is no direct link from that Master File back to the Project, unless the operator manually loads it back up. What am I missing here?
“Yes. I don’t understand either.
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I’m thinking they’d know it was insane to force updates on you. And yet, I’ve see a fair amount of craziness over the last few years, so who knows.
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[Bill Davis] “hat’s just not true. I can hear it. I can see it by looking at the stack arrangement. And if for some reason things are too complex for me to “read” the arrangement – I can highlight the Role and the software will LIGHT UP the SFX in the stack arrangement I’m working with wherever it is.”
Bill, no one is saying you can’t find a piece of audio on the timeline. What you can’t do easily is navigate by it. A timeline is simply a visual representation of the order of events. It’s essentially a graphical edl.
When I’m editing it is a strong advantage for me to see, at a glance, the location of my material and its spatial relation to other material, and to see it quickly. Being able to highlight roles is a step in the right direction, though not complete, since it only highlights one set of things at a time, and must be selected/deselected. Color-coding is probably the answer, though its probably difficult to implement, as Charlie points out, because of channel conflicts.
I think that’s a fair question to ask when deciding about the current version of FCP X: What’s more important to you–a more accurate map of events, or a timeline that is easier to re-arrange? A lot of people don’t need the extra detail. I do.
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Sorry. That came off rudely. I didn’t mean to question your process or your professionalism. I think my abundance of caution just come from days of tape, times when RAID drives were very expensive, and portable drives were far too slow to work from. I’ll continue that way, but its probably an idiosyncrasy on my part.
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And here’s the new distribution system. “Ships in 24 Hours” is SO last decade.
https://www.youtube.com/watch?v=pgTk5-JX8qI
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I just completely LMAO when I saw that picture!
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[Marcus Moore] “Work comes to me on client-specific drives, and that’s where it lives while I work on the job until I deliver it.”
Wow! You are brave. I NEVER work on a client’s drive. I treat their drives as if they are maser tapes, always copy to one of my RAIDs, and shelve their drives until I return them. Maybe I’m being overly paranoid, but I thought that’s how everyone else worked, too.
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[Bret Williams] “This. (don’t you hate it when people say that?)
But this is a good point. Tracks can definitely act as an organizational tool.
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Can? That’s what they’re there for. Or, at least, that’s what they are there for for me. Organization and navigation. I want to–no, I’m going to say I need to–be able to see at a glance where my VO is, where my SFX are, where dialog is. The speed with which I can navigate around a timeline is directly tied into that. Tracks don’t have to be the answer–colored roles, for instance, might work–but until this specific item is dealt with in some meaningful way, I will not be interested in using FCP X. This is principally what I don’t like about the magnetic timeline; its not that its magnetic, its that its taken these other, more important to me, tools away.