[Greg Janza]

I’ll second Oliver’s thought and add that with that much material you could streamline the entire edit process by transcribing all of the material shot (with timecode notation) and then do paper cuts prior to starting in either Avid or Premiere.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Eric Santiago] “From a simple man’s perspective, the user interface is still the one thing that baffles me.”

Preferences for NLE’s often can be determined by what NLE you used to learn the craft. I established my career on Avid and through years of usage the Avid interface became second nature so when I then moved to FCP it was quite frustrating because FCP seemed like a poor stepchild to Avid. But over time you come to appreciate the positives of each NLE since there’s no going back.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[andy patterson] “The old titling system was better. If you want to make them compatible with one another that would be cool but there are some of us who just don’t like the new titling system. It lacks inner and outer strokes. Along with beveled edges, drawing tools gradients the ability to use images etc. “

Why not just use AE for any and all real titling needs?

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Bill Davis] “Change is hard. “

Perhaps this is why you get so much push back. No one here is opposed to change. I’m personally a big fan of the constant evolution and change within the post industry. If we hated change the video post industry would be constantly frustrating because change is happening all of the time with our technology.

You have a very myopic approach to your proselytizing for FCPX and you often leave no room for debate or discussion because you spend an inordinate amount of time defending FCPX and what you see as unfair and unenlightened criticism towards it.

Live and let live is a pretty ideal motto for life.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

so if that program doesn’t do it, I’d suggest that you contact someone at the local network. Maybe they’re aware of windows software that will do it.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

$36 more per year for individual licenses.

I’m sure there’ll be folks griping about this but that’s because people love to complain. It’s the first price increase in several years and it’s nominal.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

https://www.calibratedsoftware.com/Products/XDDecodeV2/QXDDownload.php

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Bill Davis] “But I thought Shane’s original contention was that the timing relationship (as it relates to the tickmarks on a timeline) was functionally irrelevant. No editor worth their salt considers THAT in the slightest.”

If looked at analytically, Franz’s overall time assessment seems quite logical.

I think what Shane was referring to was the overall process of editing. And if looked at through that lens, the notion of time and how it connects and relates to clips in a timeline is all irrelevant.

Throughout a typical workday I never look at any editing time element. I don’t look at timecode from clips or any time markers in my timeline. I don’t consciously think in terms of what relation the clips have to the overall timeline or what time any particular clip may have or where it’s placed in the timeline.

The thought process throughout a typical edit day is solely focused on story development. The thoughts that consume the day: Does the story makes sense, is it flowing, does it have a solid arc, etc.

All time elements happen at a subconscious level and therefore can’t easily be quantified or analyzed.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

All of Shane’s points are completely valid.

I would add that Reuben is obviously too young to have a larger knowledge of the history of editing and the process of editing. And it becomes most apparent when he talks about how FCPX helps an editor focus on story.

The primary story line is just a new way of describing A-roll. The basis for all visual story creation is building an a-roll or “story line” and then building the visuals and audio that support that story line. This was the process when I worked with 1/2″ tape, 3/4″ tape, BetaSP, Digibeta and now it continues with all of the digital formats. Nothing about this process is different. it’s just a new way to get it built.

FCPX is quite helpful and fast in building A-rolls and adding the supporting elements but there’s nothing new or groundbreaking about how FCPX treats the process of story building and the article is highly misleading and somewhat naive.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles