David Lawrence
2
COW Coins
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Jeremy, thanks for testing. Yes, these are definitely better results. I tested again with simpler sequences on three systems – 10.6.8, 10.7.3 and just now with 10.7.4. Looks like it’s 10.7.4 that’s making the difference. On the 10.7.4 machine, I get similiar results as yours. I still think it’s a problem but it’s definitely improved. Thanks again.
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[tony west] “technology |tekˈnälÉ™jÄ“|
noun ( pl. technologies )
the application of scientific knowledge for practical purposes, “Hi Tony,
Yes, that definition is correct, but I’m talking about something a bit different. Wikipedia has an excellent entry on user interface design. If you do a word search on the article, you’ll find that the word “technology” appears nowhere in it. That’s because while it’s true that technology is the underpinning of any computer interface, the interface design itself is a wholly conceptual representation that can use any metaphor the designer chooses. In that sense technology has nothing to do with it. The magnetic timeline is a design choice, not a technology choice.
[tony west] “But more to the point, was that video supposed to be an example of something that could not be done in X?”
No, it was intended as an example of some of the kinds of non-traditional media experiences Clint was describing. I have no doubt it could be produced in FCPX. Probably Jim’s template would be the most straightforward way to go, though Jeremy’s ideas may work as well. I personally think tracks are the most efficient way to represent multiple channels, but that’s just me. YMMV.
BTW, I was fascinated by Charlie Austin’s approach which he described in his article – avoid storylines altogether and just cut with connected clips. Very interesting…
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[Sohrab Sandhu] “Somebody please remind me why was I in love with Mac computers!”
Mac OS.
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[Jeremy Garchow] “I guess I just see things differently, David. Really, I bust things down to their parts. Fcpx is hardly an a/b model if you don’t want it to be, anymore than a track based program is. X has layers. I can’t believe we are still having this conversation about layers. Sometimes, I feel you are taunting us.”
Of course we see things differently, Jeremy, lol! That’s why this debate forum is fun. And nope, not trolling, Just thinking about Clint’s questions about FCPX and his workflow from my perspective.
[Jeremy Garchow] “If I were doing this (and how I edit multichannel (or screen) events) is to make three timelines with the soundtrack in each timeline and begin the edit.
I then add the three timelines nested in fcp7 to three video tracks with the soundtrack in that master timeline and arrange each nest so that they are visible.
That way I could independently edit any channel and also view all the nests together as one program. After the edit is complete, I usually bounce the whole thing out to AE and break it up in to it’s disparate parts via automatic duck. Sometimes it’s one big blended screen, sometimes it’s a combo of blended and disparate satellite screens that are all sepearate pieces, sometimes different aspect ratios, but comprise a whole program. Since AE had much better scaling and resolution independence than FCP7. I’d finish it all up in AE. Changes were a pain in the a$$.”
Yes, that’s would certainly work. But what if you’re building your soundtrack and your video channels all at the same time? What if you need to create and manipulate interrelationships between all channels simultaneously?
[Jeremy Garchow] “How would you do it, in your NLE of choice of course?”
Well, as you know, I’m a big fan of the spatial approach to editing. I think of multi-channel video works like “Primetime” the same way I think of a multi-track musical composition. So I would compose the piece using tracks and open space as a blank canvas. Each track is fully independent but all tracks share the same sync reference. It’s perfect for the job.
Years ago, I met Melhus and asked about his process. He told me he essentially treated FCP as a superDAW, using it to compose everything from TV and Film A/V samples. He starts with audio, but video is integrated throughout. I don’t know specifically what his timelines look like but I got the sense that the flexibility of the open timeline was essential to his creative process.
It’s also been a while for me but if I was doing a multi-channel piece today, frame size, program type and the way sound is used in relation to picture would be the main factors on how I would approach it. As you know, there’s a lot of other things to consider as well. In the past, I’ve used AE to create content which was synced and mastered in FCP. Regardless of what I would use today, I’d still want tracks and absolute time for final A/V multi-channel sync. I can’t think of a better or more natural way to visualize the final piece.
Again, I’m sure FCPX is capable of doing multi-channel work. But are you working with the design or fighting it? It’s all about having the best tool for the job and using the tool as it was designed to its best advantage.
The magnetic timeline is great for certain kinds of workflows but if you ask me, multi-channel production isn’t one of them. I don’t think the UI designers even considered it. If you wind up doing a multi-channel in FCPX, please share what you learn. I think it’ll be interesting.
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[Jeremy Garchow] “I have no idea how that relates to what’s being talked about, but I’m now thirsty!”
Glad you enjoyed! Just responding to:
[Steve Connor] “You can easily edit in absolute time in FCPX if you don’t touch the primary.”
I mean, sure. And you can use a nail gun to open a beer bottle… 😉
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[Jeremy Garchow] “More than you’d think, they just aren’t in museums.”
Great, so then you’ll understand why I disagree about multi-channel work being like music video. Music video is simple and fits the FCPX A/B single track linear model pretty well. Basically you’re cutting B-roll over a master audio track.
Multi-channel and interactive video typically require parallel composition. If FCPX had multiple independent primaries, I think this would cover it, but as it stands currently, connecting everything to the single primary is a huge constraint.
[Jeremy Garchow] “I also think if you want to edit multichannel video in FCPX, it would also be pretty decently easy due to FCPX’s superior grouping capabilities.”
You could do it using Jim’s template, but you’re working against FCPX’s strengths. Let me know how it goes if you do a multi-channel project that way. I think Premiere Pro 6 would be a better choice as you’d get the all the benefits of grouping as well as tracks.
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[tony west] “What somebody did then, you should be able to recreate with 2012 technology some ten years later.”
2012 technology has nothing to do with UI design. The UI metaphor is whatever the designer chooses. A trackless timeline is a design choice, not a technology.
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Compound clip related project bloat unchanged from last year’s release. Still runs sluggish on my old laptop which works fine with legacy and can cut 4K in Premiere Pro 6.
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[Chris Harlan] “No, they are not. Unless your plan is to redefine what a track is. Certainly, they have characteristics in common with tracks, but they do not–by any means–fit the full definition. For a secondary storyline to be a track it would have to be a bus-able isolated channel that runs the entire length of program in a consistent space.”
Yep. Well said, Chris.
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[Steve Connor] “You can easily edit in absolute time in FCPX if you don’t touch the primary.
LOL, yes Steve. That’s exactly how the primary was designed to be used. Kind of reminds me of this short film:
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