Matthew Celia
Forum Replies Created
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I think, for me, it’s far more effective to assign a particular keyword (“subclip”, or “select”) to a modifier key, create my range, hit the key, and keep going down my list. That way, with the least amount of keystrokes, I’m left with a smart folder that’s filled with my subclips.
The keyword and range features combine to create subclips, which can then also have additional keywords, contain no information outside the range, and appears in a separate “bin” in the browser.
Just my 2¢.
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FCP Guru
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I take it, hitting Command-F to find the original clip, doesn’t bring up the same frame? In mine, it does, along with also highlighting the range of the clip i’m finding.
But maybe I’m misunderstanding what you use it for?
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FCP Guru
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I guess I might be able to quickly jot down the timecode from the timeline index into a text doc… still would be quicker than trying to hunt for the exact moment.
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FCP Guru
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You can also tell Final Cut Pro 7 to rename the source clip, based on the name you have given it in the Browser – might help you from having to reexport every clip, just to change the name – but I might be missing an important detail.
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FCP Guru
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Craig, I’m not sure what you’d get out of what you described.
To me, it seems that you’d be able to mimic the folder structure in the finder, then add to FCPX’s events window (making sure that the setting in the preferences leaves footage where it is). Then everything in the bin will show up in the event.
I imagine that FCPX’s keywords and smart collections would be a HUGE plus for someone who has a stock footage library.
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FCP Guru
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I disk image all my cards via Disk Utility, but haven’t gotten it to show up under FCPX Import From Camera utility… I’ve also tried connecting the camera directly, but also a no go. It’s been frustrating and I hope someone else can help shed light on this problem or let me know how to troubleshoot it.
I’m using a Canon t3i, which is listed as a supported Camera on Apple’s page.
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FCP Guru
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Thanks Simon,
I’ll give it a whirl. Just growing pains adjusting to the new interface – but overall I am liking the feel of it even if I feel clumsy right now.
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FCP Guru
http://www.fcpguru.com -
So far, I’ve been using the events on a per project basis, since upon import, I can create a new Event and tell FCPX where to save it (this way I can split up stuff over a few drives).
Have to say, that I’m really digging the compound clips.
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FCP Guru
http://www.fcpguru.com -
If you don’t want to, you don’t have to switch to Avid.
And predicting the future of your pay as an editor is about as up in the air as predicting when Apple adds EDL support. So you can’t say that it’s bullsh*t to not have a roadmap while at the same time lamenting your “future”.
You must not be a very skilled editor if you see your pay rate declining like that. Anyone worth their salt knows that it’s not the tools, it’s the editor that gets hired. I still know FCP 7 and will cut on that, now I will know FCP X too and because I’ll know it like the back of my hand while everyone else is whining about what it doesn’t do, I’ll have a serious leg up. I have my system and I rock it. All my employers know that and that’s why I get work. They just care that their movie is good.
So I propose that everyone who is so upset, just pretend that it never came out today while the rest of us help each other out in figuring out the ins and outs of the new software like what I expected from the COW instead of this rant fest.
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FCP Guru
http://www.fcpguru.com -
A few thoughts.
1) the RED workflow isn’t totally gone here – we had to transcode to ProRes before to edit and we’ll have to do so now. Without the output options, we are limited in finishing off the original RED media however.
2) FCP X project sharing is unbelievably great. Way better than FCP. A shared drive is all you need and FCP automatically sees the events and the projects. Very cool. I think someone should put it through the paces before coming to a quick conclusion on that one. Essentially, if you have a central project server, you can do some editing. And I’m going to test this via my Gigabit ethernet tonight (and that should really test it)
3) For someone who doesn’t plan on going out to ProTools or color correction, this version right now still offers A LOT. I can sync sound WAY faster than before. Fix audio problems faster. I can fix camera shake and rolling shutter. I can do a much quicker color correction than before. I see this product as a serious plus to those in the corporate/wedding field. And they are professionals, just the same as you and me.
4) Without broadcast options, I don’t trust it for that kind of work. Sure, the scopes are good, but you are previewing on a monitor (although it looks fantastic). Web and DVD for now. But then again, I can’t tell you the number of times “professionals” handed me content that had an incorrect field order or other serious problems and they were on the most “professional” systems out there.
Plus, at the end of the day, I show you an amazing piece of content, extremely well edited and I bet you can’t tell me what NLE it was cut in.
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FCP Guru
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