[Jim Giberti]

[Walter Soyka] “I love clip connections. I think that’s a great idea, and I think an NLE should be able to track the relationships between clips when an editor asks it to. Given clip connections, I think a form of collision avoidance makes sense. It’s the auto-collapsing timeline, object models and relative time that give me the heebie jeebies.”

Walter, I think this is a very succinct and accurate explanation why this paradigm fails for so many professionals.

The reason that Apple decided to take a good idea for some editors, some of the time and turn it into a new overarching concept in editing is baffling.

[Jim Giberti]

[Bill Davis] “Video editing armageddon must be nigh!”

I’ll tell you what BIll, if the new PP has switched to a magnetic timeline without tracks then Adobe will have a hard enough time dealing with Aindreas let alone the professional editing world at large.

Here’s the more likely way to read it, IMO.
Adobe added a little “Easy Bake Oven” for photographers to edit simple DSLR footage because everyone can shoot it now. A simplified, amateur product for the uninitiated.

I’m guessing they’ll provide the professional community with the tools that they and they’re clients are accustomed to. And if they added a way to switch on magnetism, who cares.

If Apple did the reverse, all would be well…except for the memory nonsense…and the constant Beach Blanket Bingo.

Trust me, I’m counting on Apple to do the right/smart thing with the evolution of this new adventure.

[Jim Giberti]

[Michael Gissing] “I also do sound post which is very much track oriented hence my lukewarm attitude to the magnetic timeline.
“

Yeah, I’m a music producer as well hence my discussion about tracks and mixers.

[Jim Giberti]

[Michael Gissing] “Jim, I have Colorista2 in FCP but still prefer to send to Color because it is so much faster and more powerful. Once the grade is done, I just back into FCP to tidy up graphics and titles whilst the grade renders when onlining, so I take advantage of the round tripping to work during renders, something that is lost when using on board grade tools.”

Were you a “node/tree” based editor before Color Michael?
It’s probably because I just never warmed to the interface.

[Jim Giberti]

[Michael Gissing] “Simplifying something useful, powerful, standardised and easily understood is frustrating to established users when the offered alternative is just different and not necessary.
“

Which is why this is such an ambiguous program that seems like a compromise rather than a vision.

Simplifying things makes sense if you’re trying to learn a complex craft – which quality editing and creative will always be – but it’s antithetical to professionals who understand their craft.

[Jim Giberti]

I don’t spend much time on forums, certainly the COW is the only one I frequent.

If this does evolve from a FCPX debate it should perpetuate as an ongoing discussion of all of the evolution and change we’re experiencing and will be for a long time to come.

I have to say, the level of discourse and insight is the best I’ve experienced on the interwebs.

[Jim Giberti]

I’ve just never like the “integration” with FCP and Color. It was always cobbled and kludgy to me.
I find realtime, in the program, grading to be a huge asset…one of the best things about FCPX, especially with Magic Bullet installed.

[Jim Giberti]

[tony west] “Isn’t one of the objectives of X to consolidate “tracks” so you use fewer of them.

I seem to remember Apple using that as a selling point.”

Here’s what I’ve come to with this Tony – it may have been seen as a selling point, but it certainly isn’t to pros.

I can work with audio in X but it doesn’t remotely compare to sitting at a console with all my channel strips and tracks in front of me in real time (likewise virtually in DP and PT.) Looks like the new PP has just that, for instance.

A selling point would be a simple command to toggle all of that on and off depending on what you’re editing. But not providing the ability is a huge, amateur compromise.

Here we go with an analogy: If I’m flying, I don’t want my pilot’s seemingly dizzying array of controls to be consolidated so that he has to go through a process to get to anything at any time.

They’re dizzying to me because I’m not a pilot.

He’s a pro, he’s trained for years so that all those controls aren’t confusing, but precisely how he flies his plane successfully.

[Jim Giberti]

Beautiful interface.
This would be an ideal upgrade/replacement for Color – and integrated into the timeline.

You could make a strong argument for locking down a few systems with 10.6.8, FCP7 and Baselight for years to come. We output everything in Pro Res 444 masters, so with the new Compressor (which I find much faster) you’d have a very solid and comprehensive system…and better integrated with Motion if you use it as well.

In that context $1k isn’t much.

[Jim Giberti]

[Bill Davis] “Search is what makes the modern internet actually functional on a day to day basis. Not for “computer professionals” who could always manipulate the bits they needed, but for every day people.

I completely understand why all the professional editors here are so inflexibly stuck in obsessing on the fact that it doesn’t “edit” the way other software does.
“

Which is why they’ve got half of a professional program Bill.

I’m not inflexibly stuck.
I’m very flexible, which is why I dove into FCPX and why, after doing a lot of work in it for half a year, I like half of FCPX.

The half they left out is the ability for professionals to use the proven, world class, talents and techniques that they’ve honed for decades, within their new X paradigm.

If Apple doesn’t respect those invaluable skills learned over, probably, millions of hours of their users professional careers, then they’re just arrogant wonks.

And if they are arrogant enough to think that our professional skills aren’t worth supporting, then we should support Adobe so that we have a strong, software-only company that’s builds programs based on their users needs.

It’s called a professional relationship and Apple seems to think that that’s a top down arrangement.