[Herb Sevush]

[Bill Davis] “Only if you artificially limit the definition of what “real production metadata” is or should be. “

This is not one of those “lets make up a definition” moments.

Production metadata means metadata created during production. It doesn’t mean anything you want it to mean so you can buttress your argument.

Something you add as a tag in an editing system, even if it’s quite valuable metadata that will stay with the clip till the end of eternity, is still not “production metadata.”

And given the fact that production MD is important, is used fairly uniformly throughout the industry, and is in every definition of the term metadata, it’s a shame and a weakness that FCPX can’t access it, especially because it is so robust in other ways with MD.

Exclamation point.

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

[Herb Sevush]

[Oliver Peters] “or even splitting out the various mics to individual tracks on each camera), it becomes a nearly-impossible working scenario in X.”

Well that’s good to know since that’s my exact workflow 90% of the time. This was one of my fears about working with X, apparently now confirmed. Oh well.

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

[Herb Sevush]

“There are no track numbers along the lower left edge; Final Cut Pro X calls tracks “lanes,” and you can add as many of these as you like. There’s no 100-track limit like you find in other video editors.”

Now there’s a feature worth touting, the ability to have “more” than 100 layers of video. And I would have thought 100 layers of video was enough — shows what I know.

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

[Herb Sevush]

“It gave the program it’s “Editor’s Choice” based on price, speed, the latest update and the ease with which those who are ready to move on from iMovie can make the transition into professional-league video editing.”

Last line of the article says it all.

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

[Herb Sevush]

[Michael Gissing] “You have a sync reference issue.”

My guess is that you are going thru a BVU Betacam deck. They require a sync reference. Turn off the deck and go directly from the card to the monitor and you should be fine.

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

[Herb Sevush]

[Lance Bachelder] “C’mon… this is hater central. Do you have a mirror in your edit bay?”

Geez, and I thought it was fanboy central, and I’m certain your never far from a reflecting surface.

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

[Herb Sevush]

[Leo Hans] “If you read about people dropping FCPX all are the same: It’s iMovie Pro. What do you have to learn from that?”

I disagree.

I have found a lot to learn in the posts of Walter Biscardi, David Lawrence, Franz Bieberkopf, Walter Soyka and others who are not using X as yet, along with some editors who are really straddling the middle like Simon Ubsdell. Even Aindreas has not totally written off X as yet.

It is true that I have nothing to learn from those who have never tried X, just as I have nothing to learn from those who won’t try anything not made in Cupertino.

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

[Herb Sevush]

[tony west] “When I cut something, I have in my head what I want it to look like before I even start.”

Which is why X works for you.

Many times I have no idea what the story will look like. It is precisely these times that keep me interested in editing.

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

[Herb Sevush]

[Leo Hans] “Would you be happy if 7 out of 7 dislikes FCPX?”

No, that wouldn’t teach me anything. I’m fairly happy with the diversity of this forum, where Jeremy, Craig, Steve, Tom and others can praise X without going overboard, and then Bill can come up with a crazy metaphor that gets me steamed up all over again. Plus we have Aindreas.

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

[Herb Sevush]

Well David, if we’re gonna get crazy and actually quote some of those reviews, let’s take a look at this from Mr. Friedman:

It’s very hard to break sync with the default settings in FCP X. But, as much as Apple is trying to prevent us from losing sync, my editing habits are formed around breaking sync constantly, and then repairing it. That’s how I edit. Broken sync indicators often help me track my edits in progress.

After months of editing with FCP X, I am still aware of the ‘missing tracks’ but now, instead of driving a car, (bear with me, I am jumping metaphors) it feels more like skiing or surfing. There’s a freedom, a flexibility. Now, ‘tracks’ seem out of place.

OK, I’m still waiting for the explanation of how he works without the sync indicators. This is of interest to me because I work this way all the time, my day isn’t made till I’ve broken sync at least a dozen times. So how does he get around it … well I don’t know, apparently he’s out surfing the audio waveforms having an epiphany.

Times up, I have to put my skiis back on the rack now and go click my sync indicators so I can print my show to tape.

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