Mathieu Ghekiere
Forum Replies Created
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This is the list I’ve been making. Not in a particular order, and sometimes I send it to Apple 🙂
– Remove Attributes button
– A kind of batch export
– If you export for instance, 3 timelines in the background, you only see the first file by name.
The one below, awaiting, just say: ‘Master File’. Why can’t you say the name of the project or timeline? So you can get a quick idea of what you are already exporting and if you forgot anything.
If it’s the same timeline you are exporting multiple times, with changes, let’s have it say the name of the sequence with the date and exact time of the export?– If you click Expand All in the menu for expanding video and audio, that it expands every clip in the timeline, INCLUDING the ones you put in the timeline AFTER you pushed the Expand All option. It reduces the amound of clicking. If you want to edit with an expanded view of audio seperately, you click expand all, and edit the way you want. If you put new clips in the timeline, you don’t have to press again and again in the menu. The same goes for Components. Could be nice to just have it as a viewing mode.
– More RAW controls from REDCINE in the R3D Hud, including (big one) the eyedropper tool to very quickly and automatically set white balance.
– Have a simple white balance tool in your standard color tools, like the one from RED. Let it be a tool you can switch on or off.
– A timecode HUD with much more timecode options. Seeing in one view the timecodes of everything in the timeline (like the old timecode overlay in FCP7), optional of course. Being able to COPY and PASTE a timecode from a clip instead of manually having to feed it always, like you could in FCP 7. You could just copy the timecode from the viewer of canvas.
– A well made timecode reader/generator effect, not only a generator. (have both). Like the old one: read timecode, generate one, custom, … Now, we have to work trough compound clips with timecode generators above, which seems unnecessary. To be able to read source timecode.
– More options from Color, including but not limited to color wheels. Tracker. Sharpening, denoising,… Maybe have a seperate Color Room? (same with Audio?)
– If you click to have Proxy Media Playback, put a warning side if media hasn’t been converted to Proxy yet, but don’t have it be offline completely. It sometimes doesn’t make sense to transcode EVERYTHING in your timeline to Proxy Media. Only being able to transcode a portion of it, and just see a small subtle warning sign in the rest without hindering your ability to work with it, would be much better!
– In the preferences, have playback for Optimized Media or Original Media be 2 seperate options? Or just some more flexibility.
– ‘Break Apart Compound Clip’ back in the contextual right-mouse click menu.
– At Audio Enchancements, at the background Noise Removal option, have a small button to set the noise print, as you could with Soundtrack Pro. I don’t know if the technology now in FCP X is the same as in Soundtrack Pro, but I’m getting much worse results (frankly, I never get good ones, and thus never use it) when using the remove background noise option in FCP X. Maybe having the option to manually set the noise print, will get better results back?
– An audio mixer! Maybe have some seperate Audio Mixing ‘room’, like you could have with Color Correction. FCP X seems to have great technologies under the hood (some of Color, some of Logic, some of Soundtrack Pro, some of Cinema Tools), but just have the tools deeper would really make it a super-NLE. Not needing to round-trip, but still being able to do so much in an NLE that can seem so simple, but yet can get very deep, is VERY appealing, and would get many people to switch to Macs and FCP X. Look at Color… Yes, you could say Resolve is better, but not needing to round trip, and being able to do very good corrections in the same program where you do the finishing, compositing, editing, … is really tempting. If you don’t want to use it, you don’t need to. But I miss Color, and in the same way I think much more of Soundtrack Pro needs to return to FCP X.
Maybe audio mix trough color coded roles or so?
So you can change the chronology of Roles in the Timeline Index, and the Timeline shifts all those Roles together. So if you decide you want all your Sound FX under your video, and then all your Music, you do it in the Timeline Index with a drag-move, and the timeline groups them and moves them together? Marcus Moore wrote a great blogpost about some options:
https://disproportionatepictures.blogspot.com.es/2014/05/roles.html– Being able to give Color Corrections names, instead of just the automated numbers.
– Have a quick way of putting audio back to a clip after detaching it. (and if they are out of sync, maybe have a dialogue box or something to choose if you want to keep it out of sync, or put it back to it’s default?) And/or better/easier solutions for working with a recording where for instance, all audio is 4 frames out of sync.
– Have the Background Render option be REALLY background. So for instance, when you are working, it keeps rendering, but like with one core or something. So it’s low taxing on the system, but you can really keep working.
– Please make it possible to have your transform, and crop tools in the inspector change in stacking order together with effects. Being able for instance, to put a crop ABOVE or BELOW a 3rd party effect for instance. Now there are many work-around necessary (compounding) to do this. (and some things are just impossible)
– The background Dashboard hud dissapears when going into another application. Not that handy.
– This feature could maybe be a work-around for the dashboard dissapearing, although it would be nice to have both: In the Share Monitor program, have a look at what you are exporting in every program (FCPX, Motion 5, Compressor 4). They all share the same engine. Having the Share Monitor open and being able to see what you are exporting in FCP X next to your regular Compressor Batch would be great. Having a seperate tab or something like that.
– When making a new compound clip, being able to immediately say which keyword it needs to have. Now, if you need to make a lot of them, and you are making compound clips from clips in a keyword-collection (which we do, to have a timecode generator on them, because we miss having a timecode hud), you always get thrown back into your Event, instead of staying within that keyword collection, and then you have to manually search the compound clip and assign a keyword to the compound clip again.
– In an Event, in your viewing options, you can choose to display: “no rating or keyword selections”. I like that option, but it would be extra nice if you have an extra viewing option with separate: “no rating” “no keyword”, next to the excisting option of both.
– Being able to have a Proxy with Alpha channel (have the software detect that automatically? Make Prores 4444 in those cases?)
– Being able to adjust values of Loudness parameter in Audio Enchancements with numeric values. Now you have numeric values for the Loudness sliders (Amound & Uniformity) but you cannot adjust the numbers directly, you have to use the sliders.
– In the transform Tools, have full Rotation controls. So for instance, only with the Y axis for instance.
– The last view of your viewing modes of your clips in the timeline is very small, which makes it very handy if you are working with many layers and don’t need to see thumbnails. It would be great to have fade handles for audio in that viewing mode. And maybe also have an expanded audio components view in that mode, but I would consider that less important.
– Having Snapping also work with for instance, doing retiming (with Hold Frames) on multiple secondary storylines above each other.
– This is more for motion, but: In Motion5, in the Browser, also have column view like you have in the Finder. It makes navigating trough your files much easier.
– If you have for instance 4 layers of video, with each of them having 4 clips next to each other… Once you make a couple of clips in a layer of video into a secondary storyline there is a minimal height difference. This becomes annoying when working with multiple layers of video, and you want to check and go from one of them to the other. (for instance, by putting transitions between them).
– At this point it seems impossible if you use Match EQ, to apply the match with the same clip, but just an other audio component. If I have one clip with 2 tracks of audio components, and I want to match channel 1 with channel 2, I cannot do so. I need to copy the clip, and make sure it’s physically another clip on the timeline. This seems a lot of unnecessary steps and gets in the way of what the whole Audio Component feature is about.
– Being able to drop a complete folder in Compressor. And make Smart Folders or Quees. Compressor has Job Actions now, but it would be great if you could tell it to use every movie that arrives in a folder (including things you are currently rendering out in FCPX, but you are leaving the computer overnight), to compress that to a couple of things. I know you SORT OF can get that now by sharing in FCPX to multiple things, but it would be a nice feature for Compressor to have too.
– A way to ‘lock’ edits/Projects, with a simple lock-icon like in system preferences. Snapshot seems to be a way, I’m just wondering if a lock icon is not more universal and easily understandable.
– it would be great if you could select all your markers in the timeline index, and make them into another kind of marker, with one command, or one click. Like making all your markers chapter markers, or making all your markers to do items, etc. …
– Having a way of seperately consolidating only your Proxy Media to another folder like you want.
https://mathieughekiere.wordpress.com
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I know you didn’t ask me, but as another casual user: I like Backblaze.
I don’t have experience with Crashplan to compare, though.I like that Backblaze doesn’t seem to take up a lot of resources, it’s interface on OSX is pretty straight forward, and in the few times I needed it, it seemed to do it’s job. Also, after 6months of uploading my complete computer, it was nice that there is a simple option of transferring your backup to a new computer (where I had put a backup back manually from a hard drive). The only thing I don’t like is the web-interface to get your files back.
I also didn’t have big crashes in cases that I needed it, so I haven’t needed Backblaze for full restores yet either. So can’t comment on that.https://mathieughekiere.wordpress.com
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Is there not a way to make this in Motion and then make it your default transition? I would presume if it’s possible to make an audio-only transition, it’s also possible to make a video only transition?
I think it’s a handy default, but more options would be handy.
One of my biggest irritations is that if you choose to expand audio, you have to expand again for every new clip you throw in the timeline. Instead of being in an ‘expanded’ view. I’m not talking about audio components, but just the ‘normal’ expanded view that let’s you easily do J-L cuts. I’ve asked for this in feedback many times, but oh well.https://mathieughekiere.wordpress.com
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Depends on what you take as update. The last big feature release was april last year. The last minor update, and update in general, was last september.
https://mathieughekiere.wordpress.com
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I’m also guessing that IF Apple gets to putting a Roles based mixer in FCPX, we will have to agree that it’s a hard thing to have figured out in a trackless timeline, but if done well, in my humble opinion, could be a proof that trackless gets you a lot of advantages above a tracked timeline, and not a lot of disadvantages.
https://mathieughekiere.wordpress.com
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I think with the Roles-mixer patents that have been showing up, and some hearsay that people within Apple ‘realise that Audio should be better in FCPX’, I’m guessing that it’s a stop-gop solution to a big release.
I am, like a lot of us, sometimes dissapointed with the pace of development with FCPX.
On the other hand, although I can be jealous of the pace that Adobe seems to have with Premiere Pro, I still love the way X works a lot better, I love cutting in it a lot more, and although this isn’t empirical, a lot of people seem to agree that overall stability with X (at this point) seems better than PPro.https://mathieughekiere.wordpress.com
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To answer on your question of where to see if an auto-LUT would have been applied, here is the information where you can view it:
https://support.apple.com/kb/PH12685?locale=nl_NL
https://mathieughekiere.wordpress.com
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[Andrew Kimery] “Certainly a case can be made for renting/subscribing being a better solution to that problem than having to pay full price for a perpetual license that you might only use for a matter of weeks.”
I agree with that, that’s why I think the subscription is a fantastic OPTION.
Not as the only way of using the program.https://mathieughekiere.wordpress.com