[David Lawrence]

[Julian Bowman] “Can I vote he just buggers off and doesn’t come back? Is that an option? Please let it be an option. I’d pay extra for it. Damn I’d pay a subscription to this forum if the pay wall kept him out.”

Now now, we’re all friends here. Let’s play nice… 🙂

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[David Lawrence]

[Bill Davis] “Just because that workflow was required as a work-around for poor source organizational tools in Legacy doesn’t mean it’s going to continue to be the best way to work when you are given more sophisticated source ID tools.”

That’s assuming the workflow is a work around. What if for spatial thinkers it’s not? What if for spatial thinkers, it’s an essential memory building and associating method?

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[David Lawrence]

[Bill Davis] “What precisely is the “spacial awareness or memory” challenge that X fails to address that Legacy solved? “

I suggest starting at the top of the thread and re-reading. The differences in visual vs verbal workflows been discussed in detail. It’s interesting stuff.

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[David Lawrence]

[Bill Davis] “You are working so damn hard to try to justify your long held contempt for X that you’ve stretched into the realm of fantasy.”

[Bill Davis] “If you don’t get that – then yes, I’ll say it again, you simply don’t “get” FCP-X. Which given your history that’s the least surprising thing written this month in this forum.”

[Bill Davis] “Listen to the people who USE it daily. They know more.

Period.”

This has been such an interesting and civil thread. Can we stay on topic please? Everyone agrees that tag and database-driven organization is a powerful, useful tool. What does this have to do with spatial awareness and memory recall?

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[David Lawrence]

[Steve Connor] “Which is exactly why FCPX should let you open keyword collections and projects in separate multiple windows, I understand this, I’ve seen enough Editors working like this to know how common an approach it is. I’m just pushing back against the idea that somehow you have to sit there and keyword all your clips in FCPX, rather than just dragging a bunch of them into “bins””

Steve, when clips are viewed in a keyword collection as thumbnails, can you manually arrange them or color them? I’ve never tried so I’m really curious. If not, something like this would be valuable along with multiple windows because color-coding and gathering physical piles is another strategy many of us “spatial” editors use.

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[David Lawrence]

[James Ewart] “what software does the Pro tools link please…what about Logic?”

https://x2pro.net

Re: logic – you’ll have to wait for Apple.

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[David Lawrence]

[Thomas Frank] “True so is the connection between ProTools and FCPX. ;)”

For the low low price of only $149.99! 😉

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[David Lawrence]

[Thomas Frank] “Is there a connection from Logic to FCP7? Yeah”

No, but the connection from FCP7 to Soundtrack Pro was pretty nice.

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[David Lawrence]

[Bret Williams] “. You can see it at the bottom of the timeline at 2:40 in this video “

Cool video, Bret. Thanks for posting. Never used it, I think we went straight from Avid to Media 100 around that time.

[Bret Williams] “Just kept possible clips in this area below the timeline. Without this area, I’ve becom accustomed to throwing different choices on different tracks and enabling/disabling as needed. But this area was so much better than that or putting chunks at the end of the sequence, because you never had to clean anything up. Your thoughts were always there. It was so ridiculously simple and useful.”

Super cool. Wish we had something like that in any of the NLEs today!

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[David Lawrence]

[Aindreas Gallagher] “I feel there is a pay off when you start to draw on it at the critical back end. that you are not simply staring at a list of tags – rather that you have a few mental fold iterations of the set of assets – with physical reality, that then bleed into tag style selects sequences anyway – I think your head has a lot more avenues of recall in that context.

mine does anyway.”

Agreed. Where I find this pays off for me in particular is when I need to rescue a scene and the perfect shot is something I remember but was shot with an entirely different purpose in mind. Or perhaps I need a transition and the perfect footage is actually when the camera was wildly swinging before finding the shot. Shots that would easily be considered rejects sometimes are exactly what saves the day. I build memory of these moments as I go thru the material in a way similar to what you describe. I’m not sure tagging them as rejects and hiding them would be an advantage.

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