[Gerrit Van dyke]

If you’re on a mac, click and drag it while holding option. That will make a duplicate that you can edit without changing the first one. I will sometimes do a copy and paste, then option drag it up a layer (and delete the old one).

It’s one thing about Premiere that’s always a bit of a pain. Personally, I don’t need 75 files with uniquely named files. I never look at those filenames anyways… But the option drag thing works beautifully….

[Gerrit Van dyke]

Looks nice, I personally can’t stand the rounded edges of the clips – I get it from an aesthetics point of view, but I hate how it’s harder to see how if clips on separate layers line up properly on the timeline. And it just looks wrong to me.

[Gerrit Van dyke]

Great tip. Just wanted to note that in case others have this issue in the future:

I was working with DSLR footage, and thought it would be a good idea to start editing in Premiere with the .H264 footage, while the footage transcoded to ProRes, and then continue the edit in Final Cut by exporting an XML from Premiere, reconnecting to the ProRes footage. Annoyingly, the ProRes footage needed to be rendered in FCP (in spite of being in a ProRes sequence that matched the settings). I just googled it and saw your solution, where the alpha channel had changed to “black” for some reason, and it worked like a charm.

[Gerrit Van dyke]

I’m hardly an expert, but having used both, I’d say that the 17-55mm is a better length for a crop sensor. Essentially, it’s the same as a 24-70 on a full frame. Gives you a nice wide lens and portrait.
I’d imagine that having IS would be of great benefit as well, which in spite of its high price, the 24-70L doesn’t have.

That being said, if you’re planning on upgrading to a full-frame sensor, the 24-70 would be great for both cameras.

[Gerrit Van dyke]

Wow! Sounds too good to be true.

I’m hardly a camera expert, but this sounds like a game-changer to me. An incredibly affordable 4k camera with a 35mm sensor? I’m waiting to hear the downside…

[Gerrit Van dyke]

I know this is an old thread, but when people search “eyedropper not working” this is the first thread that shows up.

The problem is that the OSX Lion’s update kinda messed up the eyedropper tool in FCP. So it doesn’t work. But when you select the colour box in the viewer (where’d you’d manually select a colour), there’s a magnifying glass on the top left that works the same as the eyedropper tool. It was bugging me and I did a search as well. There were about ten threads without a clear response, so I thought I’d share my findings.

On another note, there are a lot of strange responses on this forum to relatively simple questions, it’s almost becoming the standard here. Instead of helping, people just respond with more questions to try to stump the person asking them.

Question: My eyedropper tool is completely inaccurate.

Answer: Was your furnace built during the weekend or a weekday?

Question: I don’t know. Why would that matter?

Answer: Well if it was built during the weekend, it will use up more electricity, causing a slight dim in your light during working hours. That dim will cause your eyes to adapt, and calibrate your monitor incorrectly. Over time, that improper calibration will burn its way into your monitor, and it will look like your eyedropper tool is faulty – it may not be. If you’re a real professional, YOU MUST KNOW THIS.

Question, 6 Months later: Okay I tracked down the original owners of the house, and the furnace was built on a friday. What do you think? Is that technically a weekend?

Answer: Depends if it was a leap year or not.

[Gerrit Van dyke]

Hmm, sounds perfect. Have you used it?

[Gerrit Van dyke]

After this, what would everyone say is still missing from FCPX?

Is there EDL/OMF export now?

I believe you still can’t export a proper XML from FCP X that can be opened in FCP 7, Avid or Premiere right? That seems to be one of the big ones. As someone who doesn’t use FCP X, I’m still concerned about working with outside suppliers for colour grading, online and audio.

[Gerrit Van dyke]

Just listening to him on a podcast with Bill Simmons (grantland/ESPN) and he mentions about how he’s edited his show “Louie” and has been editing for years. Even he’s pissed about FCPX, saying that Apple is abandoning the professionals.

[Gerrit Van dyke]

This is good news. It sounds like we’re still an update away from being able to switch over (broadcast monitoring) but it looks like they’re on the right track.

How about EDL and OMF export?