[David Roth weiss]

[Oliver Peters] “The odd thing that some folks have experienced is that it if you make the primary storyline an audio clip it can cause problems with accurate frame boundaries. Connected clips don’t actually match up against each other, but instead leave gaps. However, these gaps don’t seem to be visible during actual video playback.”

I just quoted you in the new thread I created about the BIG difference in sub-frame audio editing bewteen FCP X and Audition.

For the record, audition can edit down to the sample rate of 1/48000th of a frame vs FCP X which edits to just 1/100th of a frame. This may not sound all that important to many here who probably typically edit at the frame level and find that satisfactory for many of their projects. But, for those more audio-centric pros like you, like me, like Michael Gissing, and for Walter Murch, it represents a huge benefit.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Robin S. Kurz] “Down to 1/80th of a frame.”

Actually, I just looked it up on the Apple site where they claim 1/100th of a frame…

See my next new post in a new thread where I discuss this…

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Shane and I have probably dealt with this issue over a thousand times here in the Cow with new editors like yourself. Neither of us advise that you learn to use it now, as you’ll have to learn all over again with new software. You can download a free 30-day trial of Adobe Premiere and learn properly on the latest and greatest at no charge.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Austin Steele] “Just got my Sony a7sII and I’m starting to edit the files in Premiere. I shot 4K video and the codec is XAVC-S.”

[Austin Steele] “Also I’m editing off a 1TB lacie rugged with a standard firewire cord.”

XAVC is an extremely CPU intensive codec that is not easy to playback seamlessly on older computers, especially laptops. I’ve had issues playing it back even with a huge 8-drive Thunderbolt-2 RAID providing over 1100 MB/sec throughput, which illustrates that it’s the CPU, GPU, and system architecture that are the stumbling blocks.

For the record, your single Firewire drive would only be able to playback a single stream of that codec under the best of circumstances. The bitrate of the that codec is 60MB/sec – a single Firewire drive tops out at approx. 80MB/sec. So, in order to edit that codec effectively you need a RAID – and preferably a 4 or 8-drive RAID with lots of overhead.If you transcode to a hi-performance codec like Pro Res, you will have a lot easier time, even if you transcode to Pro Res 4K.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Taylor Foerster] “Unfortunately, I don’t know how to find the codec of a clip.”

Taylor, it’s listed on the FCP browser… just scroll to the right until you see the column.

If you can’t ID the codec you’re working with, you will NEVER be able to succeed with FCP or any other professional non-linear editing app.That’s fundamental to editing…

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Your sequence settings clearly do not match your media.

In addition to answering Shane’s question, please tell us exactly what the sequence settings are as well.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Oliver Peters] “Clearly FCPX can be used for good sound and has some advantages for the picture editor working heavily in sound.”

Oliver, do you happen to know precisely what sub-pixel audio editing capabilities are supported in X?

***Oops, I mean to “sub-frame” not “sub-pixel” above…

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

I can’t compare them precisely, as I’ve never used them side by side, but I can tell you from my limited testing that the toolset is amazingly powerful, yet amazingly simple to use. Which, according to Al Mooney, is s major goal for the Adobe development team, because tools that go unused waste everyone’s time and money.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Shawn Miller] ”
Premiere pro has a bussing structure. You can create submix channels (mono stereo and 5.1) and send any (or multiple) track output(s) to any submix. You can also assign any submix to any other (or multiple) submix channel(s). The same is true for Sony Vegas.”

And, don’t forget about Adobe Audition, a very capable app that’s fully integrated with Premiere, which has very sophisticated busing and a plethora of other very sophisticated audio editing and processing tools.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Michael Gissing’s response should pretty much answer your questions Jeff.

However, let me just reiterate, whether roles in X ever adds the missing links that make X more acceptable to those who prefer tracks, is anyone’s guess, but it’s pretty clear that the magnetic timeline is a major hurdle for many experienced editors, most likely including Walter Murch. No, he doesn’t state that clearly and emphatically, but that was pretty clearly the implication I think most viewers will take away from that interview.

The bottom line is, there is no doubt that Walter Murch could figure out a way to do his audio work in FCP X, but, he doesn’t. And, I’d venture that there’s just one reason, and it’s probably pretty much the same as mine… It’s pretty simple… Why? The industry is pretty much track-based, has been since its inception, and all other solutions require translation to tracks. That, combined with a hefty learning curve could make our heads explode, if we chose to allow it, but we don’t consider it a solution for anything we need, so we simply reject it. We don’t think you or other X users are deficient, inept, immature, or silly, we just wonder why so many if you are so attached to your software that you can’t seem to tolerate that others might be similarly attached to their own software and workflows that are time-tested and simply work.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.