[Mark Dobson]

[Herb Sevush] “While we’re asking, what about sharing with a remote editor. When cutting my 26 show series I take all the media from one episode, transfer it to a portable hard drive and then send it off to one of my collaborating editors. They send me back project files, or XMLs of timelines, which I relink to my media. Each episode has it’s own project file. Is this possible with X and what would be the workflow?”

Hi Herb,

That’s they way that we work on processing interview material after a shoot although not on the same scale as your 26 show series.

Once all the files have been imported and I’ve identified which ones contain interviews I copy those files onto a portable hard drive which our producer then references from an event she has created.

Once the analysis, favouriting and partial transcription has been completed I either manually copy her event into my events folder or re connect the portable drive and the event shows up in the event viewer. I then merge that event into my existing production event and reconnect media if required.

This would presumably also work for projects although they are considerably larger items.

[Mark Dobson]

Hi Edgar,

thanks in advance for the free manual to using the Logic Pro X iPad remote. Really Apple should give you a full time contract to help demystify their more complex
pro apps.

[Mark Dobson]

[Stephen Nahroniak] “. I haven’t found that you can do that in X yet.”

Sutre you can.

If you highlight any parameter in the inspector you can then nudge nudge wink wink to your delight

I use the arrows for multitude of detailed adjustment particularly in the transform window and the color board

[Mark Dobson]

[Fiona Fuchs] “I’m not sure I’ve ever seen a job advertised for an X editor, but then again same goes for Premiere.”

Strangely enough there was an advertisement for a FCPX editor to work on a photo montage sequence for a major awards party after Wimbledon 2 weeks ago.
They were offering £250 (plus expenses I think) So whilst not top rates for a days work not the national minimum wage either.

And a while back Wired Sussex posted a job for a FCPX editor. So there are some opportunities for those with FCPX under their belts.

If I were a freelance editor I would definitely take time out to learn FCPX – and it is deceptively difficult to learn.

But Herb and Oliver’s advice is sound – learn the lot and especially Avid.

For myself FCPX is just fine, I’m used to awkward workarounds and I could not live without skimming, compound clips, the event library and even . . . . the magnetic timeline.

Apple have done a great unfinished job and were it not for the carcrash of a launch many more people would be using it.

It’s time is yet to come, and it will.

[Mark Dobson]

Suggest you repost your problem on FCPX Techniques Forum – You’ll get a better response.

[Mark Dobson]

Thanks Angelo – I’ll pass that information on

[Mark Dobson]

I bought Logic Pro X the day after it was launched and whilst I’ve yet to create any new music with it I’m really impressed with the package. The installation was really smooth with a panel that analysed what existing Logic Assets / sound files you have on your system.

The new interface is much clearer and easier to navigate around and I’m sure we will see some work done on the FCPX U/I in the next update.

And maybe Apple will introduce an iPad extension for FCPX either for transport control, in both the Event and Project windows and more especially within the Color panel.

But what the update really demonstrates is that a lot of very clear thinking has gone into the re-design of this application and that augers well for all the other Pro Apps.

Interesting there is now a direct link to launch Logic projects from within the sound browser of FCPX and whilst my first experiments of exporting a FCPX XML from a project ended in a logic track with 260 channels, a bit like scrambled eggs, others have reported the same bug, I think that there will be an option of
seemless FCPX / Logic Pro X track based mix downs in the near future.

[Mark Dobson]

[Jeremy Garchow] “Personally, I’d buy the hold on, now!”

That’s actually rather funny. I like a bit of witty word play.

[Mark Dobson]

If I was you I would try and hold on to make your decision.

Nobody knows how much the new MacPro is going to cost. My own feeling is that the entry level machine will be abut the same price as a high spec iMac.

It’s not in Apples interest to only sell a few top end machines, this will be their flagship computer for many years to come and they will want to penetrate the dwindling workstation market.

As you already have a MacPro, that means you already have an external monitor, which is something that people will need to factor in to the equation.

Like Larry Jordon I bought a 2012 3.4 GHz Intel Core i7 and installed 32Gbs of Ram. I chose the 1Tb Hybrid drive and it is fabulous, really fast. Overal it is a great computer and it runs FCPX like a knife through butter. The only problems I have now are what might be termed operator errors.

Either of the computers will be a huge step change for you because they will enable you to access fast Thunderbolt storage which is half the battle.

If I was still in your position, as I was 6 months ago, I would wait because the opportunity to get an extremely forward looking MacPro would be irresistible.
I’ve started saving up for the new machine already and will have to work out whether to hang on to my iMac, sell it, or pass it on to a member of my family.

FCPX is being updated to take advantage of this new computer and it will be be in your local Apple store in just a few months now.

[Mark Dobson]

[Julian Bowman] “would like a reconnect audio option.

also still curious as to real life experience issues with detaching audio, if anyone can be bothered to point them/some out. “

Not sure if this what you mean but I often find myself having to disconnect audio for various reasons and whilst its not possible to reconnect as one could in FCP7 where you could see how many frames out one was, it’s very simple to Shift F any clip to reveal in events browser and select Shift 3 followed by Q to lay the audio down in sync again.

Also with the huge improvement in Compounds I often lock the audio to clips by creating a new compound clip.