Chris Kenny
Forum Replies Created
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Since this option is fairly non-obvious:
At that point you can use the clip height control to make the waveforms nice and tall:
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Tommy Brown] “It mentions OMF can be exported NOW via automatic duck which costs more than FCP X which is pointless. Do you think the article implies support will be provided with an update.”
No, but once APIs are more widely available, someone will inevitably make a cheaper utility for this purpose.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Michael Aranyshev] “I don’t have time to first create a mess on the timeline and then spend hours cleaning it up.”
I could write this precise sentence in support of the magnetic timeline.
[Michael Aranyshev] “Magnetic timeline was designed by those who think a film is a comic book. It doesn’t respect timing.”
Coud you explain what you mean by this? How does it not respect timing?
[Michael Aranyshev] “It is one of the things that looks cool at a first glance but feels the more restrictive and frustrating the more you work on it.”
This has been the precise opposite of my experience.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[juan prado] “The event library”
Window -> Hide Event Library
Or hit cmd-shift-1
You can hide everything except the browser, viewer and timeline.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Douglas K. Dempsey] “BTW, your “text editor” analogy is particularly apt, because in fact if you DO want to prohibit flowing text and have characters occupy a place on the page, you want a different app — a page-layout app.
So to carry the analogy forward, high-end pros are like page-layout and illustrator graphic artists, used to manipulating all the pieces. FCPX or more like “Pages” app in which you can toggle to layout, but start in a basic word processor where you think about your content first.”
Well, where that breaks down is that with a page layout app, the arrangement of the page is the final product that your audience will see, whereas the graphical representation of the timeline in an NLE is just incidental. So having detailed control over its visual presentation isn’t like having that sort of control in a page layout context, it’s like having it when writing text that’s purely functional, like, say, source code.
[Douglas K. Dempsey] “In some ways, FCP7 versus the new FCPX is like comparing a messy desktop where everything is spread out everywhere, to a filing system (or database as FCPX actually IS) where you FIND things by keyword, or expand to view, instead of seeing everything laying in front of you at all times.”
That’s a good analogy. More generally, there are a lot of parallels here to the spatial Finder vs. browser Finder holy wars that broke out a decade ago when Apple shipped OS X and abandoned the former for the later.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Adam Trojan] “Apple please give a pref to turn this pro-sumer gimmick off. I want to be able to edit for real as I want. Not like you want.
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The intent of the magnetic timeline is, as far as I can see, not to make editing easier for newbies, but to get out of the way so editors can focus on editing instead of futzing with clips. Most of what the magnetic timeline does is just about having more reasonable defaults. If you have clips A, B, C, and you drag C so its head is lined up with B’s, do you really want to overwrite B with C? Probably 99 times out of 100, you don’t. You want to swap their positions. In FCP 7, this requires a modifier key (which you have to hit after you start dragging, because if you hit it before it has a totally different function). In FCP X, swapping is the default behavior. You really want overwriting? That’s what the Position tool is for.Do these more reasonable defaults make the app easier to use for consumers? Sure. But that’s because they make more sense, not because they remove control. I’m unclear precisely what it is about an interface that makes more sense that supposedly makes it unsuitable for professional users.
Even clip collisions are like this. I’ve seen complaints about how people don’t want FCP X moving clips to other tracks of its own volition. But it’s important to remember that FCP X is a trackless editor. It’s not bumping clips to other tracks; it’s just displaying them one above another as a way of showing them both to you at the same time.
I think particularly this last behavior is a serious area of misunderstanding and cause of resentment. A lot of people seem to be looking at the FCP X timeline as having tracks they can’t control. But that’s not really the case. Rather, it has clip connections which are precisely controllable by the user. Vertical space is just used to help display the clip connections the user has specified as clearly as possible.
Complaining you can’t control the exact details of this use of vertical space is analogous to complaining that a text editor displays flowing text, instead of allowing each character to be individually positioned within the window.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Andrew Stone] “Would you say that someone who is going to be moving to a Premiere Pro / Resolve workflow should be looking at an NVIDIA card as opposed to an ATI card?”
Absolutely, yes. Premiere’s Mercury Playback Engine only provides GPU acceleration via CUDA, which is NVIDIA-only. You will get no GPU acceleration in Premiere with an ATI card.
Resolve was CUDA-only until Resolve 8 (released literally yesterday); its CUDA rendering is still a fair bit faster than its OpenCL rendering, and there are still some CUDA-only features, like the new noise reduction function.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Steve Mitchell] “Using the Radeon 5870 and it works great as well.”
FCP X also screams on a GTX285. Best bet for picking up a Mac card these days is eBay. We bought our 285 from this seller, and it has been rock solid in Resolve through many 10 hour grading days. The 480s available now should be even faster, but requires external power.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Ben Holmes] “X renders anything in the timeline at higher nitrates (I thought I read 32 bit somewhere) “
32 bits per pixel, or 96-bit color. Enough precision to represent 792,28,162,514,264,337,593,543,950,336 individual colors. Seriously.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[stephen knifton] “Chris … quit making excuses for this company. you’ve been brainwashed”
Anyone who disagrees with you must be “brainwashed”. Nice argument.
[stephen knifton] “i’m not inclined to hold my breath for another year, or 18 months while apple maybe decides to add multi-track capability, or one of a dozen other features that would merely bring this up the useability level of fcp7 that we all have now. “
Specifically what functions of traditional multitrack editing do you believe FCP X cannot provide?
[stephen knifton] “i’m gone to adobe. there is no choice in the matter for me as a professional fcp-x is for soccer mom /youtubers who need an app to do half the creative for them. “
Honestly, the more I use the app, the more frustrating this line gets. To me, it’s trivially obvious that this is a professional app with some missing features, not a consumer app. It’s littered with features of no value to consumers.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.