David Cherniack
Forum Replies Created
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Right, Bill, I forgot that you are the pinnacle of objectivity about FCPx 🙂
Move along l’il doggies.
David
https://AllinOneFilms.com -
[Andy Neil] “That’s not true. A fixed track NLE editor just has to do it at the front end. In Avid, you have to assign audio to certain tracks manually as you edit and also continue to keep that audio organized throughout the edit process for the “at a glance” notion to work.
In FCPX however, no track assignments are necessary. And with one step, a particular role can be highlighted and understood.”
Andy, in both kinds of NLEs organization has to be done. Roles or track assignments. Take your pick. I’ve been talking about something else: the ability to intuitively ‘read’ the timeline audio at a single glance, once the organization is done. But you of the trackless persuasion ( I mean most everyone here except Steve and Charlie, when he’s not in full ministerial jacket or laughing too crazily to think straight 🙂 are a hard lot to get to see things rationally. Highlighting roles may work well but it’s a work step.
I think I’ll get back to my day job of rustling cattle.
David
https://AllinOneFilms.com -
[Bill Davis] “I think the aspect that you are missing is that when an X editor highlights a role in the timeline index (which, granted, as a nonX editor is a concept that won’t mean anything to you) all the assets assigned that role literally highlight in the storyline. It presents the editor with an instantaneous way to visually separate the clips in that role.”
No I’m not missing that aspect at all. You highlight the role. That’s a step that a fixed track editor does not have to do to see an overview. She can see it in one glance.
David
https://AllinOneFilms.com -
Hey Bill, I’ll take yours and Charlie’s points on faith, that it works quickly for you. But I remain doubtful that it truly is as intuitively fast as taking in the audio a fixed track timeline in a single glance. The fact that X’s clips are spatially ‘non-linear’ or ‘random’ means the brain has to do some work at seeing their organization. OTOH colour-coded roles I can see would help do that.
David
https://AllinOneFilms.com -
[Robin S. Kurz] “You have never once actually used FCP X, have you? Nor have you in fact read the article, right?”
And you’re rather prone to assuming things so this line won’t go any further.
David
https://AllinOneFilms.com -
[Thomas Carter] “While you could achieve the end result with a track based NLE, FCPX allows me to do all the boring “admin’ stuff more quickly and easily, so I can get on with actual editing. I’m able to see the results quicker and therefor move forward faster too.”
This has been debated here endlessly so I won’t go into it. I get there are advantages to the magnetic timeline in some scenarios. I also get that it doesn’t suit all editing situations better than anything else. The visual overview of the organization of elements seems to me to be one of them.
David
https://AllinOneFilms.com -
[Charlie Austin] “I’d be willing to bet that anybody could open up the TL Index for that project and figure what was where in about less than 10 seconds.”
10 seconds? Shirley you exaggerate. Maybe you mean 10 seconds in order to know what’s going on at any give moment in time by clicking each vertically aligned clip to find out its role. OTOH the fixed track system allows that to happen at a single glance and also allows ‘anyone’ to see clearly see what related audio is in play before and after in the same glance. So 10 seconds vs 1 second…wait..my single glances are faster than 1 second…they’re faster than a speeding bullet…
https://www.youtube.com/watch?v=6EWubLFVgRc#t=43
David
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[Charlie Austin] “I’d rather do it in X than anything else, even, to some extent, a DAW. Especially layering SFX to picture. Seriously.”
I believe you Charlie. But my mileage does vary 🙂
David
https://AllinOneFilms.com -
Maybe I’m missing something crucial, but the idea that this timeline is an advance over fixed tracks for audio seems incomprehensible. I get that audio is above. I get the usefulness of roles. But anyone coming from outside who wants to understand how all the audio elements of that timeline work together would be in for an intense study, vertical moment by vertical moment. The editor himself must have a steel trap for a memory to have an overview of his audio. If I constructed a timeline like that, and came back to it after a week’s hiatus, I’d have to look at it for a god-awful while to figure out what I’d done. OTOH If I look at a tracks timeline after a week, I immediately get a quick overview. If I want to tweak something I immediately know where to look. It seems to me that the whole argument that X is a great way to edit complex audio is contradicted by the timeline’s visual appearance of disorder. Color coded roles would seem to make things slightly easier but not by much.
So I don’t get how this is an advance over fixed track timelines for audio editing.
David
https://AllinOneFilms.com -
First of all I don’t think you can depend on usb3 to give you consistent media access times. It
s great for storing and transferring large amounts of material but that’s all. You need a fast TB or internal PCIe raid controller on each of your individual machines if you’re working with large complex timelines. Raid 6 is always preferred over 5 if you have the drive numbers to allow 2 for redundancy.David
https://AllinOneFilms.com