[Jim Giberti]

Personally I don’t consider anyone’s opinions to be laughable here (except for Aindreas and DRW, but they’re doing it intentionally).

I never really considered that anyone was trying to make a case as to why “people should be using” anything. I just accept that people are sharing their honest opinions based on personal experience.

It was fully considering both sides of the spirited debate that helped me make a decision and move forward.

[Jim Giberti]

Let’s be clear though, it’s not a manual – just a it more than an overview.

[Jim Giberti]

[Oliver Peters] “I find it a bit ironic that, in spite of the fact that Apple’s design direction is to simplify and be intuitive, FCP X is anything but that, once you get past the basics. Just look at how much folks in this forum are struggling to make sense out of it.”

But Oliver, that’s how these things always go with new programs and hardly an accurate assessment or some scientific poll.

In my experience, once you get past the basics, you’re off to the races. There’s very little to make sense of once you get past the basics. You can edit, experiment with looks, audition, mix audio, work with text, organize and search faster than any program I’ve used.

I can imagine why X would be an issue for the reasons we’ve all discussed.
But I can’t imagine anyone struggling with it once they learn it – it’s a very fast, intuitive program.

[Jim Giberti]

[Aindreas Gallagher] “Apple’s argument is false, mendacious, and will create harm to the basic craft of editing if it comes to pass as they wish it.

As currently envisioned, this application not only may fail – it actually should fail, and needs to fail. comprehensively.”

I know you go for the bombastic Aindreas, but c’mon.

It’s not a conspiracy to destroy editing, just a new approach to the concept and a good one in my experience so far.

And regarding existing skills – I wouldn’t be flying along in X after two weeks if not for my existing skills from fcp7

[Jim Giberti]

[Jeremy Garchow] “While I too am intrigued with Jim’s workflow, I think it breaks the magnetic timeline in dramatic fashion (no offense, Jim. I enjoyed your post). “

Hey Jeremy, Remember, the idea of using the one frame “anchor” at the top of the Primary doesn’t have anything to do with my basic points about mixing and mastering with Compound Clips and Secondaries.

The demagnetizing thing was just a separate idea for anyone who wants to, for instance, glue a music bed as a defacto fixed timeline for editing.

You can use Secondaries and CCs to emulate and give the visual reference of tracks without anchoring them that way.

[Jim Giberti]

[Bill Davis] “Once you adopt the “dick image” strategy you’ll never go back.”

I’m looking forward to getting through the current projects that I have to transfer existing folders and then everything will be done that way.

But do I have to call it a Dick Image?
Reminds me of an Anthony Weiner Tweet.

[Jim Giberti]

[Oliver Peters] “You guys crack me up. Like WM would actually mix a movie in any NLE, STP or Logic. As re-recording mixer he strictly works on Pro Tools.”

It’s good you’re entertained Oliver. It’s interesting that you think that he wouldn’t mix a film in Logic though. Because he works in Pro Tools doesn’t mean that it’s superior. I’m sure he’s like every other creative pro – he uses what’s he’s most comfortable using out of a range of quality tools.

I’ve had all three in my studios and much prefer Digital Performer 7 to Pro Tools, as do many pro engineers and producers at the highest level.

I did make the point that I don’t consider either FCP 7 or STP to be a real tool for audio post, but Logic?
Of course it is, and it’s why you can do a really good job sculpting audio in X.

Of course not for a major or even minor film release but for TV spots, for instance, absolutely.

It’s been long established at this point that FCP X is not ready for the upper end of the editing industry, but to deny it’s unique capabilities (like finishing audio better than any NLE I know) is selling it short.

The real point is that the vast majority of people on the Cow, who edit in any version of FCP or any NLE, will never handle the audio at the level of Mr. Murch.

Like the vast majority of FCP editors have learned to do their own grading, so could they do their own in-house audio post if they learn the chops, and now X will let them.

I’m talking the great unwashed masses…and I suppose I’m one of them.

[Jim Giberti]

[Jeremy Garchow] ” (I’m sure final audio post wasn’t done in STP), I wonder what he would think of the built in Logic effects.
“

I’m sure it wasn’t either. I’ve never considered STP to be a serious mastering tool. I can’t imagine how he wouldn’t be impressed with Logic being in X…it brings the sonic quality of Logic.

[Jim Giberti]

sorry my connections wigging out. First snow storm.

[Jim Giberti]

[David Lawrence] “And everyone knows FCP7’s audio tools are way too lousy to do any serious mixing and sound design.”

I think you can do sound design in FCP7, but it’s not very easy nor does it have any serious sound design tools at the level of DP MasterWorks or Logic stuff, so I’ve always done our post there.

It’s the ability to now sculpt audio with the high end Logic tools in X and to apply them to individual clips, quickly selectable groups and Master buss that makes finishing audio the real deal.

It needs a ton of refinement, but it can already do what you can’t do in 7 in my experience.