[David Lawrence]

The tele-prompting made everyone seem pretty stiff, that’s for sure.

The other thing that stood out was how many digs they got in at Apple. “New look, same feel” “Better, without forcing you to re-learn everything” etc, etc. Really emphasized listening to their customers. Clearly, FCPX has been a huge gift for this company.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

Marco Arment (creator of Instapaper) nails it:

https://www.marco.org/2011/11/02/scaling-down-the-mac-pro

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

[Pedro de la Fuente] “Yes, great info Simon. Hopefully it will only get better for FCPX.”

Not to rain on this parade, I think it’s awesome that AD is free. But if it’s having problems with FCPX now, I doubt it will get any better in the future. It’s EOL at this point:

Because we are so busy with these new projects we cannot provide the same level of support for our plug-ins that we used to, therefore we can’t in good conscience charge money for them. But we don’t want our popular tools to go unused if they are still useful to people. Therefore we have decided to make them available at no charge. Enjoy!

Thank you for the memories, we’ll see you around.

– Wes Plate & Harry Plate, co-founders of Automatic Duck

Kudos to the Plates for their generosity, but don’t count on it getting better. Someone else will need to pick up the ball moving forward.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

[Jeremy Garchow] “I would really be curious if someone gave him a good tour.”

Me too. If I had to bet, I’d wager he’d find the DAM aspects intriguing, and the trackless, ripple-only timeline as Oliver Peters so succinctly put it:

[Oliver Peters] “I think the trackless idea is utterly stupid…”

But who knows?

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

I think the big potential winner here is Adobe.

Here’s my recipe for how they take over the professional pond:

1) Make Premiere Pro awesome. Fix the weird quirks and make configuring sequences more flexible and intuitive.

2) Have Wes Plate write a FCP7 project import plugin for PP. No XML needed, import a FCP7 project directly from the import menu in the program. Make it work 100%. If you can’t make it work 100%, create a clean way for the user to manually resolve conflicts and get 100% translation. You can do it!

3) Get Walter Murch to cut a feature with it.

4) Profit!

Seriously, if they do this they will own the FCP user base.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

[Tom Wolsky] “If I understand your premise you want to slide the gap and the connected video and audio. Select the gap and nudge it, comma or period, Shift-comma or period, or type in a plus or miss value.”

That’s correct, however I want to overwrite in the primary in the direction I’m dragging, and not affect the trim of the clip I’m moving away from.

You’re method partially works, but is limited in that you can’t nudge beyond the length of the clip you’re nudging into, and the clip you’re nudging away from is extended by the length of the nudge.

Basically, I just want the position tool to behave consistently when used on gaps. It should leave a gap behind as the gap is being moved. It does not. And because of this design error, as you can see, clips ripple underneath it. That’s because storylines are ripple-only and gaps are the only way to space clips apart.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

[Jeremy Garchow] “But is FCP/tracked methodology analagous the wheel? Is it so perfect that we can’t look ahead or for alternatives?

The combustion engine has worked well for a good long time, but don’t you think it’s time to start looking at alternatives to it to sustain a healthy (and growing!) population?

What will we lose in that process? Also, what will we gain? Is loss is implied during change as well as the gains?

What true alternatives have we had up until now?”

All great and perfectly valid questions. I guess I’m still of the mind that tracks are the wheels of an NLE. I’m openminded about other possibilities, but I have yet to experience any meaningful benefits with FCPX’s new timeline model.

Another way of saying it: better = better. Newer or different, not so much. I need proof.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

[Jeremy Garchow] “To me, it’s the FCP7 interface that perhaps is “wrong”, or rather it is certainly different in 10.”

A UI paradigm that’s been proven successful since the invention of the tool over 20 years ago is the “wrong” one? Okaaaaaay… 😉

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

[Craig Seeman] “I know I focus on specific relationships as I work. I can’t imagine really being able to process 50 tracks of video and 50 tracks of audio simultaneously although I can imagine someone’s brain tuned to pattern recognition might be thrown if the pattern keeps changing through hiding and exposing information.”

Seems we’re talking about different ways to achieve the same thing. I focus on specific relationships as I cut as well. I’m sure everyone does. As a spatially-oriented thinker, the way I achieve this is by quickly and selectively zooming in and out of the timeline sections I’m interested in. The advantage with this method is that I can control the zoom level and always have the full overview and context of my piece instantly available for manipulation in context. I use a 5-button mouse with a couple dedicated keys that make this very fast.

If compound clips opened in context (the drawer-like behavior we discussed), I’d be all over them. Even something like AE’s “Shy” layers would be a step in the right direction. But right now, CCs are basically glorified nests which makes them of limited use to me. The fact that the FCPX timeline model pretty much insists that they be used at some point is a big problem for folks like me. I need full control of the edit context as I make editorial decisions. Stepping in and out breaks that.

[Craig Seeman] “I think that comes down to how certain people process visual data. Some really depend on pattern recognition whereas others like to see only the information being focused on for the immediate task at hand. In fact, for many, that may be the crux of the track vs trackless issue. The pattern recognition is completely gone in a trackless timeline. It takes a different way of thinking . . . probably a different part of the brain, and that’s why the reactions for/against the timeline are so strong. People have been trying to articulate why the do/don’t like it as a form/function issue but for many it may well be how their creative brains are wired.”

I completely agree. Well said!

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

[Steve Connor] “David, I know you like to mention it a lot but the FCPX timeline is NOT ripple only!”

[Tom Wolsky] “No more than the FCP7 timeline is lift only.”

Steve and Tom —

Here again is my video that proves it is. The position tool does not turn off ripple. In fact, there’s currently a very destructive design flaw that verifies this when the position tool is used on gaps. Watch the behavior carefully:
https://www.youtube.com/watch?v=72Pc56peq98
I started a long topic explaining my reasoning here:

https://forums.creativecow.net/readpost/335/17555

Bottom line – the position tool does not turn off ripple. Storylines are ripple only. Connected clips must be attached to the ripple-only primary.

I welcome you to demonstrate why I’m wrong with your own video examples.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.