[David Lawrence]

[Craig Seeman] “Of course I’d expect Logic to be in the App Store at that point as well.”

Yes, but will it have a ripple-only, trackless, magnetic timeline? I hear that’s the future!

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[David Lawrence]

[Jeremy Garchow] “[David Lawrence] “They’re clearly not the same application, but how do you know they’re not sharing the same code base? Just curious.”

I read it on the internet? 😀

How do you know they are?”

Well, I don’t know for sure… but you either believe that they wrote everything from scratch and all the similarities to iMovie are purely coincidental…

or there’s this! 🙂

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[David Lawrence]

[David Roth Weiss] “had they revealed the fact that they were going to EOL FCS3 on the very day of their release of FCPX, wouldn’t that have changed the tone of even the most rabidly excited in attendance?”

I’m pretty sure if Peter Steinauer revealed the fact that FCPX would import iMovie projects but not FCP legacy projects, he would have been booed offstage by that crowd.

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[David Lawrence]

[Jeremy Garchow] “But MY point is that even though they look the same, they aren’t. Sure they might have the same look and feel, but they aren’t the same application or code base. “

That’s a pretty definitive statement. They’re clearly not the same application, but how do you know they’re not sharing the same code base? Just curious.

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[David Lawrence]

[David Roth Weiss] “Will there ever be 2-million totally new users who’ll pickup FCP X more efficiently, to balance the scales, (if it is in fact more intuitive for newbies)?”

At $299/seat vs $999/seat, it’ll actually take a lot more than 2-million users to make up the difference.

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[David Lawrence]

[Aindreas Gallagher] “I more or less think FCPX is aperture, with all the implications that follow.”

Bingo.

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[David Lawrence]

[Chris Harlan] “I just use ctrl-V to split all my tracks, then “t” or insert edit to move all else over, then I heal as needs be. I can do exactly the same thing in Avid. The truth of the mater is that unless each edit is very self contained, an insert is going to through something off. magic timeline or not. For my work, splitting and healing is generally ideal because it keeps everything in sync. The music will generally need readjustment, but it would require it in the magic timeline as well.”

Yep, another perfectly useful technique. The bottom line is it’s just not that big a deal. Certainly not worth ditching all the benefits of tracks, open space and industry compatibility for the one or two special cases where ripple and collision avoidance are a nice convenience.

I mean we’re all pros, right? It’s our job to handle that stuff.

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[David Lawrence]

[Simon Ubsdell] “I think it is clear that the FCPX method wins hands down – unless I’ve missed a trick with the two otgher NLEs which is no doubt a possibility ;-)”

[Simon Ubsdell] “For me it’s a “jawdroppingly” elegant solution to a genuinely complex editing task that the other two NLEs don’t come close to matching.”

Hi Simon,

I don’t know about Avid, but in your FCP7 example, you’re working a lot harder than you have to. Here’s a better technique:

1) zoom out to reveal your tracks first
2) TTT – make sure you select forward in front of any overlapping clips
3) A – use command-select to select any clips you missed (you can drag to rubber band multiples) or deselect any clips you don’t want.

Here’s an example:
https://www.youtube.com/watch?v=qbVn8tDF-VM

While the gap technique with FCPX works well for that one particular case, what happens if you wanted some of that dialogue and effects audio to stay put? Good luck with that. “Jawdroppingly” elegant quickly becomes jawdroppingly frustrating.

In my example, I can easily select or deselect anything I want. It’s fast, simple, and far more flexible most of the time.

I find the magnetic timeline gets in the way more often than it helps. The track select tools are easy and powerful once you get the hang of them.

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[David Lawrence]

Tim, I think Jeremy was simply referring to this:

[TImothy Auld] “It’s not a question of tools. In many instances I need to have audio and video completely unconnected and to be able to manipulate them in the timeline at will in any way I choose. I don’t see how that happens in the present magnetic timeline in a multicam situation. “

I was being snarky but basically agreeing with you. I often slip sync and create entirely new relationships on the fly. The magnetic timeline doesn’t help. And at least in FCP7, when you slip audio, there are indicators to let you know.

Nothing personal, we’re all friends here 🙂

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[David Lawrence]

[Jeremy Garchow] “I’d also love a reattach audio.”

Totally! I mean, what’s up with that? Seems so obvious. Makes me wonder what’s in the water in Cupertino.

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