[John Moffat]

As a alternative technique you can still use the play head as an “in point” to perform a 3 point edit directly into a secondary storyline. As well as using the range select tool to set in and out in a secondary. You also use the timeline index to mark I&O on any clip to perform a replace edit.

Not as efficient as using I & O keys by any means but there are still options.

[John Moffat]

I think FCPX is more of a threat because the skill base to use FCPX and get professional results is a lot lower than any other editor IMO. The automated way it manages media in the background and the trackless timeline requires less of a learning curve. The way FCPX controls how you edit, hides advance features, standardises timeline aspect ratios might annoy professional full time editors but this also reduces the chance to screw the edit up. If you are an up and coming assistant producer doing a rough cut isn’t this the ideal NLE for you? Let’s not forget how cheap it is as well.

Maybe I’m wrong but I can see FCPX being used in-house on producers laptops in a way Avid and Premiere can’t be. There will be more in-house time and less at the post houses. Many shows require high-end finishing only a post house can offer. Many do not. It’s not an all or nothing equation but it is clear the balance is changing and FCPX could be an important part of the change… when it stable… less buggy… and has better xml inter-change…

[John Moffat]

I can’t see any established Post Production business adopting FCPX. If Apple keep developing FCPX it will be a major threat to many post houses business model and therefore it is in there interests not to work with it. How much do you charge for a FCPX Dry Hire when the producer sitting next to you has it on their latest MacBook Pro? Or if someone develops a colour accurate laptop screen?

This is part of the reason Post Production services has been named (along with print newspapers) as an industry in terminal decline (https://tinyurl.com/6weqwll). FCPX is not complicated to use (just different) and anyone would be producer coming out of college, who is interested in the industry, will be able to do pretty advanced edits on it. I think people will always pay for talent (I hope anyway) but the industry is changing fast, the technical side of making content is becoming easier and cheaper and importantly broadcasts days are numbered….

What I’m trying to say is the success or failure of FCPX won’t be measured by how many Post Production houses use it (they won’t) but how many in-house post-services, producers and small 1 or 2 man bouquets house use it for part of there work.

[John Moffat]

The shaded blue is what happens when you perform an J-Cut on the audio of a clip in the primary storyline. FCPX let you see the audio waveform for the full duration of the clip but ‘Blues-Out’ where you have have trimmed out the audio in a J-Cut.

I’m guessing here but since you can’t hear the audio transition and it is “Blued-Out” you might have done something similar to a J-Cut with the audio. Is it possible you have dual mono or stereo audio with one channel silent and have trimmed the channel with audio but not trimmed the client channel?