[Jim Giberti]

[Alan Okey] “Editors who dislike and do not use FCP X are not necessarily old and inflexible. It’s not that they “just don’t get it,” or that they are dinosaurs; they just don’t like it, and choose not to use it. By the same token, editors who like and use FCP X are not necessarily any less “professional” if it fits their needs.”

Perhaps Cow could make this into a carved sign and hang it at the top of the forum.

[Jim Giberti]

This is great to hear David.
I was literally just looking at the MX02 mini for my home studio where I’m doing more and more work.
I was thinking it could be a nice solution when fcpx got it’s monitoring worked out.
I wonder if the monitor calibration feature has anything going on.

On the ProMax note, congratulations on the move.
Talk about bringing back memories. Charles was my long distance mentor when we were setting up the first Mac based NLE in our region. PP 1.0 on a Quadra 840 AV all specced and done through ProMax.
His was a name that was used regularly around my shop…I haven’t heard it in too long.

Talk about circles being unbroken.
I feel like we’re distant cousins or something.

[Jim Giberti]

Hey Luke,

Probably not what you want to hear, but you simply need a bigger monitor to do detail work.
I have no problem with the screen real estate in X, in fact I like the layout.

Here’s a grab of what I’m editing right now, with scopes on and on a 27″ monitor. At 76% of a full 1080 image it’s larger than the image we’d be grading on a 14″ or 17″ broadcast CRT.

Here’s the project without scopes and it’s a nearly full 1080 image to work with.

The 13″ can be a great production tool but it can’t be an all-in-one box given the size. Add a second monitor and you’re in business.

Jim

[Jim Giberti]

[Neil Goodman] “Also, while Logics effects re great, they dont hold a candle to Waves, “

Well these are the things that are ultimately subjective. I think they more than hold a candle to Waves sonically. I have Waves and Masterworks sets and the Logic stuff sounds as good on average in my studio especially things like the channel EQ and Convolution Verb.

Also to disagree with the basic audio “mixing” premise. I think mixing in FCP7 is pretty primitive compared to what you can do in X, you just have to approach it differently.

As I’ve said before, I never even considered doing an audio mix in FCP before X. Previously, everything was routed to my audio studio and mixed in DP on a big console. I mix and master just as well but much faster now staying within FCP.

But again, you’ve got to be willing to rethink the approach, which after years of 24 track machines, mixing consoles and racks of gear, I’m all into.

There needs to be a lot of evolution and hopefully quickly (the ability to add your own plugins being a simple start) but I’m in a different place with audio and film/video since learning this thing.

[Jim Giberti]

[Simon Ubsdell] “Strictly speaking Motion 5 is a 64 bit rewrite which is quite a big deal – which would probably also explain why there are a few bits “missing” from the previous version.
“

Exactly, which is what I mean by the disfunction that passes as Apple communication.

Imagine that what we all hope for, an actual way to use Motion again as the front end compositing/animation tool for fcp, is just a temporary set back because of the rewrite.

Now imagine removing that singularly important function from your shiny new rewrite without communicating to the users that count on it, that it’s a temporary set back and will be addressed asap.

You’ve just imagined what I’ve been trying to figure out for months – why Apple is so unwilling to be a forthright partner regarding anything they do.

They’ve created an unnecessary love/hate relationship with too many of their adherents.
They need to realize that really smart people are often really ignorant regarding certain aspects of their duties.

Like politicians in DC, they need to get out of their Cupertino bubble and get some outside assistance in basic communication skills.

At this point I’d offer them my firm’s services for free.

[Jim Giberti]

[Chris Harlan] “I actually love Motion, and think it is an under-rated and wrongly ignored program by many of my colleagues.
“

Me too Chris. But you’d hate the way they implemented it in X.

[Jim Giberti]

[Matt Trubac] ” If Motion 5 is a pure upgrade will it take a “send to motion” from FCP7?”

I don’t mean to say it’s a “pure upgrade” Matt but that it’s not a rewrite and virtually the same concept with a few tweaks.

I haven’t tried working with Motion % and FCP7. To be honest, since making the change to X, I went whole hog and haven’t opened up 7 in a couple of months. any existing work I had there I reimported and started new inX.
I really do like it that much.

And I think/hope you’re right about the xml being the issue.
It would be nice if Apple could communicate these things.

With Apple, I constantly feel like I do when I’m in the middle of a lousy argument with my wife and there’s no communication.

[Jim Giberti]

[tony west] “When I look at something like the Tremolo Effect, I say to myself “what the heck? ” : )

Sound is a world to it’s self brother. LOL”

Oh yes it is.
But as a jazz musician once told me regarding that idiom’s confusion to pop musicians – “it’s still a limited body of information Jim”.

Here’s my first big audio tip:

FORGET ABOUT STUFF LIKE THE TREMOLO EFFECT.
Some of the Logic controls are as superfluous as barn door transitions.

Likewise most of the transitions and visual FX. While there are some great looks to start with, most of it is junk you’d never use in a project.

With the audio learning curve, stick to learning EQ, Level Control and a little Spacial ontrol.

Here’s my second audio tip :

Master the Logic Channel EQ and you’ve got all you need for track by track adjustments, Learn the Logic Limiter and you’ll have what you need for output control, Learn the Logic Space Designer (Convolution Reverb) and you’ll be able to add subtle and FX that will rival any studio.
If you add the Logic Multipressor to that list (as a great mastering tool before the Limiter) you’ve got literally all you need to do a great audio mix.

Four tools to study isn’t so daunting.
Like I said, ask away about audio for film/video in general and I’ll give you any advice I can.

The old axiom is true – Half of all great video is audio.

[Jim Giberti]

[tony west] “What are your thoughts on that tool set?
“

I think the integration of the Logic FX and controls is what makes this genuinely capable as a complete finishing system, even in it’s immature incarnation.

IF you look at audio mixing differently using the metadata and trackless concept then it’s all you need to do what you would do separately in a dedicated post environment. If you’ve got a pair of accurate monitors and a reasonably controlled listening space, you can do it all right there.

Did you download the document that goes through all of the Logic features Tony?

That would be a great start to using them.
In the meantime ask away.

[Jim Giberti]

[Matt Trubac] ”
I think its less that they removed it and more they haven’t added it in yet. Does seem like it would be a priority though. I think its more useful than the publish feature.”

Well it was there and now it’s gone so I think “removed” it is the accurate term.

Unlike X, Motion is a true upgrade. They didn’t change the editing paradigm or even the content, it’s the same program – but for some absurd reason they limit you to a one way experience regarding integration.

As you say, Publishing is no replacement for round tripping.
It’s fine if you want to start a project in Motion and then bring some design elements into X, but disabling the ability to get footage from fcp into motion, literally removed it’s best use.

I could even live with not re-opening the project directly from the X timeline – but not being able to export or import footage from X is just retarded and has none of the “this stuff makes more sense as I learn it” mojo of much of fcpx experience.