[John Godwin]

I think you need to change the forum title to “FCPX IS Professional – Now What?’

:)))

Best,
John

[John Godwin]

Or me. I’ve been cutting my home movies on it for years. Or was that movies at home?

Best,
John

[John Godwin]

No, these were the steam-powered models.

My point being that once in a while it seems like we just forget how fantastic it is to have all these tools at our fingertips, and instead worry about how many pinheads can dance on an angel. I’m pretty happy to be around and working when we can do things easily on a laptop that you couldn’t do for any amount of money 20 years ago, and when cameras no longer weigh 34 pounds and produce excellent images for almost no cost.

Sorry, don’t mean to get off topic, it just struck me strongly when reading this thread, and perspective is good.

Best,
John

[John Godwin]

Can’t you just open the clip in the angle editor, copy the range you want, optical flow it on the timeline, and place that where you want it? Man, I used to edit reel to reel on quad machines with no controller and an inherent half second lag on edits. A few clip selections and mouse clicks are no big deal.

Best,
John

[John Godwin]

I tried using it in FCP7 as few times and, as best I recall, the implementation was not remotely as functional as FCPX, what with everything shifting out of sync most of the time. So, I really never took to it. Secondary storylines have their awkward moments but by and large I find them immensely useful, and fast.

Best,
John

[John Godwin]

I have only a passing acquaintance with media composer, but I can infer that 1) perhaps it was entirely too rudimentary (adequate tech not yet existing) or 2) the concepts of timeline editing then took a seriously wrong turn?

Beats me. I just was making the point that old dogs make their own choices. I really hated DSLRs, especially after having to actually shoot with them, but more power to the people who like them. And I never questioned their professionalism or that some talented people could turn out some really beautiful work using those tools.

I’m pretty pleased that the general attitudes here about FCPX have shifted from mostly horror to wary acceptance and anticipation, at least as I read it.

Best,
John

[John Godwin]

Speaking as an old dog, I don’t think the point of the analogy is that old dogs can’t learn new tricks. I think it’s more that many of them don’t WANT to learn new tricks. Which is entirely up to them. But many times they’ll then diss the new tricks without really knowing much about them because, well, they haven’t taken the time to learn them.

One of my clients, who does his own rough soundbite cuts, when I showed him how the magnetic timeline worked just after FCPX was first released, commented “That’s great! Why didn’t it always work that way?” I think people learning to edit accept a newer (and/or different) process without preconceptions.

Best,
John

[John Godwin]

Calling FCPX iMovie 10 is a sure sign of someone who knows next to nothing about it. That’s an old theme/meme. I always appreciate it when people self-identify.

Best,
John

[John Godwin]

Once in a while this’ll happen with my system. If I click and play a clip in an event the timeline then works normally, no rebooting. Hope this helps.

Best,
John

[John Godwin]

I think it took all the heat out, so no steam. Gave a new target for spleen venting. And maybe a little perspective.

Best,
John