[David Lawrence]

Not quite.

By individually selecting all the connected clips and re-positioning them in the Primary, you’re changing the clip connection points thereby creating incorrect clip relationships. At 15 seconds, if you wanted all clips to remain attached to the gap, you would have to go back and reset their connection points.

The whole point of connected clips is that once you connect to an object on the Primary, you define a sync relationship to that object. When you move the object, the connected clips move with it.

This completely breaks down with gap objects. Gaps break the model.

The second half of your demo does answer my trim mode point. Thank you! I stand corrected.

But again, this is a tool mode. The timeline is still ripple only. You can’t turn it off. The proof is my example of the ripple behavior that destroys clips to the right of the gap. Your demo does not address this behavior.

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[David Lawrence]

[Steve Connor] “Using the Position tool turns the magnetic timeline off …”

[Steve Connor] “the fact is that gap clips are the only thing that ripple. “

Steve, with all due respect, this is demonstrably incorrect. Everything in the Primary Storyline always ripples. You cannot turn off this behavior. Same with Secondary Storylines.

The Position Tool is the functional equivalent of the Overwrite Segment Tool on the Avid. It overwrites and automatically creates filler (gap) as needed. This is not the same as turning off ripple on the timeline!

[Steve Connor] “When you are familiar with the way the software works, and I know we’ve already had a huge debate about this, you IGNORE gap clips when using the position tool, you don’t touch them, you don’t trim them, they are simply spacers, you have no need to interact with them at all. You treat them the same as gaps on a Legacy storyline.”

Gaps are objects with the same object behaviors as clips. They hold sync for connected clips. You can’t ignore them, you have to deal with them.

Here’s a simple example, in case you missed it:
https://www.youtube.com/watch?v=72Pc56peq98
As I wrote before:

[David Lawrence] “This is a very typical J/L-cut scenario with multiple audio sources. The connected clips are connected to the gap because that creates the correct sync relationship between them. All I want to do is move this connected group by a few frames or so to fix the pacing. I don’t care about overwriting the primary. I can’t use the select tool and holding down the option key doesn’t help. The position tool is supposed to let you place objects anywhere you want so I use the position tool. I think this is a totally reasonable thing to want to do based on the tool’s intended purpose. If you disagree, please explain.”

Let’s talk about trimming.

How do you perform an Overwrite Trim in FCPX? Without interacting with gaps? Seriously, I really want to know.

Trimming in the storyline is always ripple trim. If you don’t want to ripple, you have to trim the gap object.

For example, let’s say I want to trim back a clip left without affecting program length. The only way to do this is by performing a rolling trim with the gap to the right.

As far as I can tell, FCPX is the only NLE that makes you overwrite trim this way. You have to deal with both the clip and the gap. How is this easier or better?

I realize we’ve discussed this ad nauseum and I apologize for harping on the subject. But when I hear anyone claim that the Position Tool “turns off” the magnetic timeline, I really have to push back.

It’s simply incorrect. You’re confusing a tool mode with a timeline mode. They’re not the same thing and it’s important to understand the difference.

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David Lawrence
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[David Lawrence]

[Steve Connor] “Using the Position tool turns the magnetic timeline off leaving you free to place, move and trim clips on the timeline without ripple.”

That’s wrong Steve.

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

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David Lawrence
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[David Lawrence]

[Bill Davis] “A transcript tells you nothing about the reality of the clip – only the words being said. “

The exact words being said are a Very Big Deal.

[Bill Davis] “A simple keyword locking that clip into the “negative comments” collection is a whole lot more useful than any transcript. “

Totally disagree.

A simple keyword gives the general idea of what’s being said

Transcripts give exact words. With Soundbite, I can find them instantly. This is way more useful and the kind of detail I need when I start cutting. Tags are great as pointers, but they give much less information about the actuality.

In the end you have to listen.

There’s no substitute for actually hearing the way something is said. Especially if you need to Frankenclip a new phrase together. A word in your “reject” collection may be exactly what you need to save a phrase.

Tags are simply the top level of organization. As you drill down, transcripts, Soundbite, and listening become way more useful.

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David Lawrence
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[David Lawrence]

[tony west] “Yes you could use your markers and notes but why couldn’t a person break down and tag out that interview like I would tag out a backwards k by Carpenter?”

I work with interviews a lot. Tagging has limited value when dealing with actuality. There’s no substitute for actually knowing exactly what words were said. Transcripts are way more important. Boris Soundbite solves one half of the problem. If someone could come up an auto-transcription program that really worked, it would be truly game changing.

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[David Lawrence]

[Herb Sevush] “The question then becomes should the market break down into “niche” NLE’s that are aimed at specific users, or is the ideal to make an NLE that fits all workflows.”

[Herb Sevush] “At what point do you say – enough specialization, I don’t know what project I’m likely to cut next, I want something that can handle anything? “

Bingo. This is probably my biggest beef with what Apple did to FCP in designing FCPX. Over the years I’ve used legacy on everything from short PSAs to music videos to multi-channel museum installations and more. I’ve edited and mastered albums with it. I can create workflows for any kind of time-based project I throw at it. It was (and currently still is) my universal, time-based media tool.

FCPX seems highly optimized for very specific workflows. Great if it fits your needs. If so, it gives tremendous leverage. But I find anything outside what it likes to do is incredibly cumbersome. Much harder to roll your own workflow. Hopefully it gets better. We’ll have to wait and see.

_______________________
David Lawrence
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[David Lawrence]

[Bill Davis] “I am one kind of editor that represents one market segment. X is great for me. If you need to edit like I do – medium to large company corporate video – it’s a fabulous tool. That’s all I’m saying. “

Totally fair statement, Bill. Thumbs up.

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David Lawrence
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[David Lawrence]

Yep, same here. I get pristine output from FCP7. And output aside, with Colorista or even the regular Three-way CC, I find I can make things look better in FCP7 because I have more control. FCPX isn’t doing anything magic with rendering. If you see a big difference, much more likely your FCP7 settings are off.

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David Lawrence
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[David Lawrence]

[Craig Seeman] “So it seems they’ll need to be drivers on Mac but not Windows. “

I find this somewhat ironic.

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David Lawrence
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[David Lawrence]

[Jeremy Garchow] “PS David Lawrence left a comment, maybe he’ll get an answer.”

Yep, never hurts to ask. Either we’ll get a quote or we won’t. It’ll be telling either way.

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David Lawrence
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