Mark Morache
Forum Replies Created
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[Simon Ubsdell] “Granted this was an exceptionally talented kid,”
Thanks for sharing Simon. I stand by my statement that students should learn a traditional track based NLE first, then if they can handle it, be introduced to FCX. I’ve seen people struggle with learning curves, and you can’t start learning something new if you haven’t gotten ahead of the curve on the first thing.
I believe you in the capacity for younger kids to quickly learn and master the software. It’s not just FCX however. I’ve seen most of my kids opening up FCP6 on the G5 they inherited from me, and start doing basic editing without any input from me at all.
I’m struggling with the merits of teaching some co-workers FCP since it’s EOL’d. Is there a whole lot of point to that especially considering all of us on the staff are old enough to remember dial phones and pagers.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
[Oliver Peters] “Of course, just as a point of comparison… For the same money, they can also own a full version of Media Composer, including the third party software bundle. Complete with 4 years of software updates and tech support.”
That’s quite a deal. Wish they had that when I was in college.
4 years of updates? Really? AND tech support. Feels like it’s a long way from the days of the very expensive Meridian box, and the very expensive licensing that I was using when I learned Avid.
I’d say we have Final Cut Pro to thank for the smart prices. And now we have FCP to thank for the mass migration away from Apple.
What a world.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Likewise, FCX has such a radically different paradigm, it would be difficult for people trained on it to migrate to Avid or Premiere. However once you learn either Avid or Premiere, it’s fairly easy to retrain on the other.
However, it might be fun to have a few seats of FCX for the star students who pick the stuff up very quickly, and get a little bored with the status quo. I’d venture to say that even poor college students could afford the $299 to play with FCX.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
[Carsten Orlt] “One question, and this is not a snipe but true interest, why do you stick with FCPx and not go to Premiere or Avid?”
I’ve done Avid. It’s always felt to me like I was driving the family van. It’s stable but I’m not excited about going back.
I recently purchased Adobe CS 5.5, and I want to learn Premiere. I’m not anxious to start climbing another learning curve right away.
FCX just has so much freakin’ potential. There are times editing FCX where I felt excited about what my fingers were doing. I posted this thread primarily to see what others thought about the magnetic timeline, because for me it’s the toughest thing to get my head around.
As an editor, I can go from FCP7 to Avid to Premiere, and for the most part the strategies for editing will remain the same.
FCX changes all of that. It’s not just about learning where they put the trim buttons, it’s mind-numbingly different. The question is will they be able to mature it into something truly phenomenal, or will it always remain a sub-par intellectual exercise in reforming the editing paradigm. And when I say “sub-par” I’m not speaking of a failure, but something that’s just not quite all-there.
Can they perfect this paradigm, or by it’s nature will it always lead to a dead end?
I don’t have the investment that many do on this board. I work for a local broadcast, and do shooting and editing on the side. Presently, my editing outfit is a single MBP 17″ that I use for everything. I can do things for my paid job on FCPX that I can’t do on our system at work.
I’m afraid that I’ll commit a project to FCPX and somehow it will fail me close to my deadline, and I’ll be sunk. I’m keeping a copy of my media on an extra drive in case it gets modified and goes offline. I’m duplicating my projects every 30-60 minutes without copying the render files so I have a backup.
I honestly believe that Apple will continue to try to make this the photoshop of NLEs. Just like the evolution from FCP1 to FCP7, we will see this new thing grow and improve. If the magnetic timeline becomes the sandy foundation that ultimately causes this thing to crumble, I’ll be sad. It might be like trying to make a Thanksgiving dinner with tofurkey. It will never quite taste like turkey. Ever.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Well, that would be different.
I wonder if there’s some gap at the end of the timeline. That would keep your timeline from filling the space.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I have a trick for that. I create a title at the top of the clip, like a slate. You can place into that as much info as you want about program titles, version number, and every little change you made. I generally make this one or two frames and make it the first frame of the sequence. This gives anyone who needs to watch and approve of it the same information.
Make a new version of your sequence, and change the text in the first frame.
Don’t want to export it in the clip, and you can just turn it off, keeping it at the top of the sequence.
This still gives you 25 or so characters to label your timeline. You won’t need to abbreviate too much.
This works for me.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Gaps are great.
The Sony Xpri system we edit on now has something similar. Any bit of black space between clips on a track can be manipulated like a clip, so to create more space in the center of an edit, I can simply ripple one end of the gap and make more space.
Gaps are great.
So are tracks.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
[Gerald Baria] ” I see a lot of people here having the habit of dumping everything in the timeline and making choices from there, creating the story “as they move along”, and I think thats a very messy disorganized way to work.”
I love to try to adapt the way I work with the project. Our shop has different photographers who shoot things different ways. I love that. Our editors likewise all have their different ways of working. I would never think of trying to make another editor work like me.
There are times when I feel like the best thing to do is to just dump everything in the timeline and get messy. I find wonderful happy surprises that way. You should try it sometime.
It’s why I’m thinking the magnetic timeline is an interesting, but flawed paradigm. I’m going to continue to try strategies to make it work for me, but as long as I continue to feel like I’m working for it, I’m not going to be happy.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
[Jeremy Garchow] “I tell you what I miss about in and out, is that it seems pretty locked to the primary.”
That’s exactly what I’m talking about. Perhaps they can give us a way to lock the primary so pressing I and O will default to the next storyline up. I don’t understand why selecting the secondary storyline, won’t let me use my keyboard to set the edit points.
[Jeremy Garchow] “Secondary storylines give you control of defining a horizontal relationship without a track. In a trackless world, you need them,”
Yes I understand that. I’m still not convinced that this is preferable to the legacy method of using tracks, because it’s not entirely a trackless world. When we have secondary storylines or connected clips, we effectively have tracks. Does it make it better if the pop in and out instead of staying constant? Maybe not. We gain freedom when we lose the need to patch the source and destination, and the apps avoiding of clip collisions. We lose something as well. And I’m not just talking as an old editor who thinks the old way is always better. I’m just the opposite. I love new things. I love new ways of working and thinking.
Right now, swapping tracks for magnetic feels to me like it may never be more than an even trade, and even worse, it might be an irreparable loss.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
[Lance Moody] “choosing what is the primary storyline is really not that important a decision. I doesn’t matter that much…you can switch stuff in and out of the primary”
That’s partially true. I’ve found that dragging things in and out of the primary and flipping things around can leave residual issues, so I don’t always do it without careful thinking, because it matters what you put in the primary storyline. Trimming and editing can be easier or more difficult depending on where you put things.
I’m not giving up on this. I like the good part of this too much. I’m glad you like it, but I’m still finding myself doing lots of clicking to get to my finished product. I hope they can fix that.
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FCX. She tempts me, abuses me, beats me up, makes me feel worthless, then in the end she comes around, helps me get my work done, gives me hope and I can’t stop thinking about her.Mark Morache
Avid/Xpri/FCP7/FCX
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com