[Herb Sevush]

[Charlie Austin] “And, AFAIK, 7 still works in Yosemite, so there’s no deadline for 7 users yet…”

4K

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[tony west] “I’m constantly dragging clips below the timeline and muting them in case I want to use them later … I never really worked like that before, I think it would have been too cluttered.”

I worked like that in FCP legacy all the time, in my case the video clips were up on tracks 3 and 4, the audio also on 3 and 4 – disabled.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Jok Daniel] “True, but it’s also one of the best available tools for such a workflow. Maybe even the best.”

No argument from me on that, I just wish they had some kind of plug-in architecture and some way to round trip from AE, Resolve, etc. I think they have some integration with Boris Red, which actually meets a lot of my needs, but I’ve heard it’s pretty buggy. I would like to take advantage of it’s editing tools, but without some GFX, EFX tools it just won’t work for me, but then again I’m not cutting features.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Kevin Monahan] “I could not consider working with an NLE that does not have basic integration with other apps I need to get my work done”

It’s also very limited in third party plug-ins. As much as I want this to succeed, LW is not for me, it’s meant for an off-line, on-line feature film workflow, at least for now.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[jerry wise] “that’s weird. I just dropped a wav file on track 1. clicked on it..clicked on the wrench tool and was able to show “audio time units” and then unclick and go back to normal time code display.”

Jerry – are you using the latest Cloud version of PPro? I am and in my version the “show audio time units” is in the regular timeline menu, not in the wrench thingy. And it only changes the time code ruler at the top of the timeline. I’m trying to change the time code overlays that appear in the program monitor – (similar to FCP time code windows in the Canvas viewer)

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[jerry wise] “if you click on the little wrench tool you have the option to display “show audio Time Units” ..unclick that.”

It is already unclicked. If that feature was on ALL the audio would display as samples. On my timeline the audio that comes with video clips displays properly as frames. It’s only aif. files, like music, and the audio from multicam sources that is displaying in samples.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

Jeremy –

The only thing I need opened is the bottle of gin I bought to get me thru the next few weeks.

Don’t know if your a Philip K Dick fan but the original title of the story that Total Recall was based on is “We Can Remember It for You, Wholesale.” Blade Runner was based on the novel “Do Android’s Dream of Electric Sheep?” – Dick definitely had a way with titles. And the books were pretty good too. (that was a major understatement.)

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Charlie Austin] “All due respect, since the demo is free, maybe you should try to learn how to use X as it was designed.”

Not my methodology. I’m one of those editors who can only work on one system at a time. Takes about a month of howling and two more of sobbing before I can get comfortable. That’s why I research all I can before I take the plunge – there is no NLE ever made that I don’t hate and loath for at least the first few weeks, so dabbling with a demo doesn’t work for me. I’m just switching to PPro Cloud now and if you think I’m critical of X, I’m positively effusive about it in comparison to my loathing of anything Adobe at this stage. Fortunately experience has taught me that this too shall pass and sometime by September I will have a more balanced view of it.

The reason I poke around at X is because i do find it intriguing. There is much I admire and envy in it’s capabilities, auditions and multicam being at the top of the list, but so much of it’s design philosophy goes totally against the grain for me that when I had to jump from Legacy I jumped elsewhere. Like a pretty girl with an ugly mind, you don’t want to take her to bed but it’s hard not to look.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Atilio Menéndez] “So in legacy this most common operation involves more than TWICE as many clicks/steps! Plus in legacy you are forced to press the spacebar repeatedly. This all becomes VERY tedious once you have experienced a better way.”

Legacy is deader than a Dodo, I’m not comparing Legacy to FCPX, I’m just looking at some of the design decisions that went into X. All NLEs have strengths and weaknesses, it’s helpful to understand the basic design priorities that goes into creating them. As for adjusting volume I currently use PPro and I can mix on the fly with it’s internal mixer – no keyframing at all if I want.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Jeremy Garchow] “I have never seen a one click room tone button in any NLE.”

Wouldn’t that be a nice feature, especially if it created the tone by sampling the nearest clips.

[Jeremy Garchow] “It’s about the same in X. If your are trying to do this to a video clip in the primary, the room tone will be connected. “

But then you also have to remove the bad sound in a separate operation, no? And unless I misread the comments here, connected clips are in some ways limited in terms of EFX and transitions. So you have a 2 step process leaving you with a somewhat compromised result. I doubt you would have designed it to work this way. I know I wouldn’t.

As to the silliness of this, or how much it matters, I understand that operationally it isn’t a big deal, but as an indication of the designer’s intent and priorities I find it interesting.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf