[Herb Sevush]

[Carsten Orlt] ” I will go back to many hours of track assigning, setting up complicated asymmetric trims, rearranging music or fx so they don’t overlap because of this one slightly more involved workflow compared to what you have with tracks..”

#1 – The main lesson I have learned from this forum is that there appears to be a near infinite number of workflows being pursued by a very large number of very highly schooled editors working on a staggering array of different sorts of projects.

I have never used an asymmetric trim in my life, because I detach all my video from my audio once my assembly is complete. I’m amazed that this is not a universal process, but then I checked in with paragraph number #1 above, and am no longer surprised. But still, FCPX saves me from nothing there, so you’ll have to do better.

My music and FX don’t overlap, even when moved, because they’re kept on separate tracks. If you mean that FX would overlap with FX when moving segments in overwrite, then yes that happens, but what happens when you have these overwrites in X — they now co-exist non-harmoniously in adjacent “lanes” till you either disable or move one of them further. So in sum X allows you to clean up your mess after you make it, other NLe’s insist you plan ahead and don’t make a mess in the first place. Ahh the revolution is here.

Track assigning, especially in Ppro, is a pain in the ass, X is an improvement there. But of course only if your comfortable with the lack of visual information provided by the X timeline. This is a preference issue, if you don’t care about the visual clues, then X is faster – but see paragraph # 1 above.

We haven’t even gotten to the issue of no round tripping from a gfx/compositor. I’ve gotten used to round tripping ever since *edit and *combustion allowed this possibility. I realize that X allows for some fairly complex effects work, but there are projects where it’s clearly not enough – what, prey tell, do you do then?

I believe Andrew has answered for me adequately elsewhere, but I really think you should check in with paragraph #1 a little more often.

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

[Herb Sevush]

[Carsten Orlt] “Apply the FX to the clip not the track.”

so dozens of times a days I have to select a clip, remove its current efx settings, then paste in the new settings — that is oh so 2013.

[Carsten Orlt] “Or wait with mixing & EQ’ing until the picture is locked and compound elements and apply FX to that.”

Yes, waiting for picture lock, as opposed to hearing it the way I want to hear it as I cut is a huge step forward.

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

[Herb Sevush]

In Davis speak this means you’re obviously not a true FCPX editor. Practice up Steve, you might figure it out someday. It’s sort of like scientology for editors.

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

[Herb Sevush]

[Carsten Orlt] ” There is nothing in the FCP X timeline that you can’t do because of not having ‘rigid’ tracks but so much more exactly because you don’t have them.”

With Ppro which has both “rigid” tracks and a track mixer I have one track with specific eq and compression for sync dialogue and one track with different compression and eq for location effects. When cutting a show the nature of my audio often changes – what was once sync now becomes effects and then sometimes back again. I can accomplish this in Ppro by simply moving a given audio clip from one track to another. This is a constant with me as I refine a show, something I do dozens of times a day. How would you handle that with FCPX?

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

[Herb Sevush]

[Bill Davis] “I can’t remember the last time I saw a broadcast delivery spec that wanted me to include bars and tone.”

For spots your correct, for program delivery, not so much. For PBS bars and tone are still part of the program delivery specs, even with digital (proRes) delivery. On the other hand, having a bars and tone generator is not something I would look for in evaluating an NLE — even I’m not that petty.

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

[Herb Sevush]

[Tim Wilson] “You know who’s damn near perfect at backwards compatibility? Microsoft. Windows 8 notwithstanding, they’re also historically very good about gentle transitions forward. Even a moron like me can go to their website and see the roadmap for the next 15 years, including the dates for when compatibility guarantees and product support for every piece of software will end.”

Which is why I only use Macs for tool specific tasks. All of my personal and office computers are PCs. Apple products are non upgradeable and not past-compatible, which works fine for a consumer trinket, but doesn’t work for me as a business investment. Plus this way I don’t have to pay extra to be cool, which, less face it, isn’t gonna happen no matter which ear plugs I use.

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

[Herb Sevush]

[Bill Davis] “Not the question you keep asking if you consider the software “done.””

I don’t think the software is “done.” This past year produced many interesting updates, but I do think that certain requests will not be fulfilled. Round tripping to Motion has been asked for over and over again for these past 4 years and I believe Apple has heard those requests, and the answer, for whatever reason, is “no.”

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

[Herb Sevush]

[Charlie Austin] ” why do you assume that that stuff won’t appear.”

Because it’s been 4 years. Apple has been very good about delivering those things they promised to deliver. They never promised to deliver Roles based audio organization, they never promised to deliver round tripping to Motion. At what point do you say, well that’s it then, I guess it is what it is?

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

[Herb Sevush]

I don’t think Soundbite transcribes, it is a search tool for words or phrases. I’ve used it mostly for audio editing when looking for clean versions of phrases for repair work. You specify the clip/clips and if/when you find the word/phrase your looking for, you can import markers into your project.

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

[Herb Sevush]

[Tim Wilson] “But that’s the actual story. Avid never said they’d leave Mac. Never threatened to leave Mac. Never left Mac.

Pass it on.”

I think you should stop being so cryptic and come out and say what you mean.

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