Craig Alan
Forum Replies Created
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Jeremy, I played with this but don’t yet find it useful. Can’t see the handles, don’t see 2-up. And maybe you can help with this … If I use red clip skimmer to go to a frame in the handle, how do I set the new out point? I can move the edit point using the comma period keys dragging it to the red skimmer but this is kind tedious.
It does seem to have some potential in that I can move over an adjacent clip but view the handle instead. But it seems like about 1/3 of the visual references that I need.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Tracks?
I must say that it was a bit tricky in legacy as well. And maybe full time editors got past it but lots of times audio would get out of sync. I do like having connection points. But maybe that’s just training wheels.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Thanks Oliver. Thought I was just not getting it. Always feels like a a tug of war and too many steps to get the result of a very common need – a simple split edit. I do like seeing the available handles on either side of an edit point but the audio feels like an afterthought in the way the program was designed from not having a keyboard shortcut that brings up an audio-centric interface, the little audio space you get in the inspector to see all available tracks, the half baked version of timeline tracks for audio. I do like the connection points when adding an audio clip.
I thought you were looking for a particular feature to be added in the PE.
Like I said, I really just use it to see the handles and then go back to …. non precision?
[Oliver Peters] “wish there was a two-up view when you trim via the keyboard”
Yes that would be great. Seems like a bug that it displays 2-up but not when using the keyboard.
Can’t imagine that was deliberate.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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I got that. But how could you add that to the PE?
If you expand the audio and video and create an L or J cut you still get a two up when you play with the edit point. What would the PE add to the package and how should it get displayed?
When I open the PE after editing a J cut, I get sections of the now collapsed audio that look blacked/greyed out but the overlapped (L or J) audio will still play. So do you use the PE for visual edit points and then expand the audio and create your L or J?
I don’t get that blacked out look. It looks like it is disabled but its not, its a handle and seeing the waveform of this audio handle is even more confusing. Underneath it is the other clips audio. This is where trackless as designed is not as good. Unless I’m missing something. If the audio is collapsed (attached) to a visual its very obvious that it’s a L or J cut. Why black out that portion? Maybe a colored bar across the audio section would make it more obvious.
In any case, how would you beef up the PE by adding the ability to edit audio as well.
L cut:
collapsed L cut:
L cut in PE
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Yeah about the only way to be able to use wider shots and reaction shots with dialog is to integrate J & L edits.
How could this be improved with the precision editor? What features would you add?
In some ways this is done really well in FCP X multi cam. You choose your sound track and cut around it.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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The hardest part of basic production is the audio. Many young film makers will choose projects that do not require live audio recording. An action sequence with the easy ability to use speed control in a NLE and a music score is really not that hard. I’ve seen a zillion skate boarding movies as good as this one. I’m not saying that some kids don’t have more visual talent than others. But most professional gigs and films have dialog. And yes a script and plot. This ups the price point, the skill, and the number of crew members that know what they are doing. Another major factor with “no budget” films is getting all these people to SHOW UP and take direction. A lot easier with money on the table.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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If I’m only concerned with one side of the edit, reveal in browser does the job. I’m often only concerned with where I want to trim each clip. I’ll use cross dissolves to soften any feeling of a jump cut. I do like old school more stagnant shots than what is in fashion right now.
Have to admit that my mind doesn’t easily imagine the final result of a roll edit looking at the frozen timeline even while looking at two up display – until I play it back with “shift-?” It’s like i don’t see the effect that playback speed will have. Maybe I should practice that since it could be a time saver.
I’ll often look at the Precision Editor just to get a glimpse of both handles and then close it and use the two up and the browser selection. Followed by playing around playhead. So all and all I like the feature but don’t use it to full advantage.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Or we could just call it Rough Cut.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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https://barefeats.com/imac5k18.html
Are you going to do serious editing with a portable? Might be better off getting a Macbook Air and an iMac. The iMac when configured with enough ram and the best graphic card Apple has to offer ain’t cheap either but seems like everyone who has one is pretty happy camper. You could take the Macbook Air and a thunderbolt drive to ingest and do some rough cuts and then when you get home use the iMac as a work station.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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[Adam Berch] “When I’m importing from a hard drive onto another hard drive”
[Adam Berch] “It does not give the choice to Leave Files in place”
Below is the right hand side of the import window (command I). ‘Leave in place’ is just a radio button.
Are you saying this is greyed out after you selected your storage location, which in your case was a different external drive than the one the original media is on?
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
