David Lawrence
2
COW Coins
Forum Replies Created
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[Jeremy Garchow] “The precision editor along with clip skimming allows you to see the media above and below your current cut if you’d like, and then extend or retract the edit to a specific point.”
Does anyone actually use the “precision editor” on a regular basis?
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David Lawrence
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[Steve Connor] “I would be very happy for FCPX to have it, however the idea that it somehow makes your edits better is bull plop”
You should try it Steve. Maybe your edits will start getting better! 😉
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[Michael Gissing] “If Roles can move to something more sophisticated that would be good. The lack of indication of how to display and manipulate those functions still indicates it is work in progress rather than a cunning master plan.”
Yep, not to mention the fact that all those posts are from July 2011, back when FCPX still had the Sequence.icns resource showing tracks. That image is now gone and perhaps those other secret hidden clues are as well. For all we know, all that stuff might have just been left over from an earlier, tracked version of FCPX.
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[Michael Gissing] “As to Apple’s intent, I think the fact that Roles were a hasty bolt on seems to indicate that a coherent master plan for managing sophisticated audio management and mixing function didn’t exist. If it did there would have been Roles from day one and a mix panel by now and a bunch of control surfaces with real faders as third party options. Roles look like how a database engineer would add bussing.
The templates for sophisticated track based non collision editing like Fairlight were known to Apple. By choosing the magnetic timeline behaviour they knowingly chose and alternative without thinking through the consequences. After 18 months it doesn’t look like there was such a master plan which is unsurprising. If Logic turns up with magnetism then I might concede that there is a plan or the alternate view that database engineers still have no clue about audio.”
Well said.
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David Lawrence
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[Charlie Austin] “Because they’re Digital AUDIO Workstations. They are designed to be slaved to either time, or picture that is locked in… time.”
Lol, not necessarily at all. I hear the “audio is different” reply whenever I bring up DAWs but I think it misses the point I’ve been arguing since FCPX’s release.
Audio and video are both time-based media.
Audio and video are both represented as clips in a 2D GUI in the same way.
Audio and video are both manipulated as clips in a 2D GUI in the same way.
Audio and video can both be cut.
Audio and video can both be sequenced.
Audio and video can both be layered (mixed or composited).
There are many situations where slaving to time is just as important for picture as it is for sound.
When you start breaking it down, I don’t think digital audio and video are as radically different as many people seem to think.
Sure, sound and picture are typically treated differently in many production workflows, but there’s no reason to necessarily make one media type more important than the other. I think forcing this distinction shows a lack of imagination on the part of UI designers.
[Charlie Austin] “If you don’t like hierarchical magnetism and want your clips in X to be connected to time rather than “parent” clips, just fill the primary with gap, and cut with secondary storylines and connected clips. That’s how I used it when I started using X. It works just fine.”
Jim Giberti’s gone even further simulating tracks with gaps. It’s super creative and yes it works, but at the end of the day, it’s still a hack to make up for the magnetic timeline’s fixed hierarchy.
Why couldn’t a track-based NLE be just as powerful for sound as it is for picture? Why couldn’t the best ideas of track-based NLE’s and DAWs be brought together? I see no reason why working with both digital picture and sound shouldn’t be a completely fluid experience. That’s what I want in my ideal world 😉
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David Lawrence
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[Charlie Austin] “And I’m not convinced that something like this is not where apple is going. Combining that DAW layer concept with magnetism would be very nice I think.”
It would be nice but I’m not holding my breath. As Michael has been saying for more than a year, Reaper and other DAWs like the Fairlight show how it’s possible to avoid the clip collisions without losing the benefits of a track-based UI. If that was really Apple’s intent, I think they would have built something like that to begin with.
Maybe roles will evolve to provide this but as I see it, the problem with the magnetic timeline isn’t that it’s trackless, it’s that it’s hierarchical. How many DAWs have a single primary track that all other tracks must connect to? Why do you think that is?
[Charlie Austin] “These concepts would, it seem to me, work very well with a magnetic timeline. I guess if one believes that Apple has no clue what they’re doing, then a trackless magnetic timeline is just a big, arrogant mess. But… what if they do know what they’re doing? ;-)”
I’ll believe it when I see it 😉
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David Lawrence
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[Oliver Peters] “I personally do not want to be connected to someone else’s DropBox account in order to share their content on my own DropBox. If I only have a free account, their material goes against my 2GB limit. Most DropBox users do not go the extra step to make a link public and simply send the link when posting a file to share.”
Agreed. Dropbox is a great service but its sharing model makes it a PITA for me more often than not. 99% of the time I just need to send a big file. I don’t really care about sharing or sync.
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David Lawrence
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[Joseph W. Bourke] “Not to put words in their mouth, but it appears that they are eager to make this fly, and become the file delivery/transfer tool of choice. At 1TB transfers for free, I’m in…”
Looks good, I’ll check it out. Another good one to know about is WeTransfer. Up to 2GB, completely free, no signup or plugins required. Rock solid and completely reliable.
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David Lawrence
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[Jeremy Garchow] “I am not advocating editing in a coffee shop.”
Screw the coffee shop. I edit on PLANES!!!
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David Lawrence
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[Carsten Orlt] “It’s just me but big statements like ‘most natural’ I do not like. FCPx timeline shows there is a different way. It still has parallel streams just not confined by multiple tracks but one. “
There’s lots of different ways. Different isn’t necessarily better. If the magnetic timeline is just as good for multi-channel sync sound as it is for video, why wouldn’t Apple design Logic X around it? For some funny reason, DAWs still use tracks, including apparently, Logic X. Why do you suppose that is?
[Carsten Orlt] “It’s only arbitrary from the outside. It’s simply a solution to get rid of track panels and patching and clip collision. If you start with the premise that you don’t want any of the three in your timeline than you have to kill tracks. Not arbitrary but a given outcome for a defined goal. FCP software engineers didn’t just put something to annoy you. They actually had a goal. If the goal is not something you can subscribe too than obviously you don’t like it because for you there was nothing wrong in the first place.”
Yes! 🙂
[Carsten Orlt] “[David Lawrence] “would you want a DAW with a FCPX-like magnetic timeline? Would having only one main track in default ripple mode – that all other channels must connect to – be a better, more natural UI for working with multi-channel sound?
”Don’t know, don’t do sound :-)”
lol, I get that answer a lot around here! 🙂
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David Lawrence
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