Michael Hancock
Forum Replies Created
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[Bill Davis] “I’m not sure it’s fair to do a “responsiveness” assessment outside the context of the hardware involved.”
My experience is on a 5k iMac that was purchased 2 months ago. Processor upgraded to the 4GHz i7, 32GB RAM, upgraded 4GB graphics card, 1TB Fusion drive. So everything maxed out except the system drive (could have been upgraded to an SSD). The footage is ProRes 422 or 444 from the Amira, both HD and 3.2K. Storage is a PROMISE Pegasus2 R6 12TB Thunderbolt 2, about 40% full. So in my case, the hardware is as new as you can buy from Apple with storage that far exceeds what is necessary to playback my edit.
[Bill Davis] “Which is fair, but a question that only really matters while you HAVE older hardware – and vanishes when you no longer do.”
That hasn’t been my experience. I have all new hardware, and on my set up the Premiere UI (CC2015) is noticeably faster than FCPX (10.2.1) with the exact same footage and the exact same edit. I even took a FCPX timeline, exported an XML, took it through XtoCC and imported it into Premiere to ensure I had an accurate and fair comparison. And the Premiere UI was more fluid and responsive than it was in FCPX.
Are you seeing different results? You just got the new 15″ Retina, didn’t you? Is FCPX more responsive than Premiere on that machine?
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Michael Hancock
Editor -
[Steve Connor] “So it’s not just me, the UI responsiveness in PPro is much better for you as well?”
PPro is WAY more responsive than FCPX for me, using the same machine and same footage for comparison. Selecting clips, moving them around, waveform drawing, playing at double and triple speed, and basic editing commands all seem to have small delay in FCPX, whereas in Premiere it’s immediate (except playing in reverse – terrible lag in Premiere).
I just started using FCPX with 10.2.1, which is supposed to have improved the responsiveness a lot, right? I can’t imagine what it was like prior to that. I find myself waiting for the program to catch up quite often.
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Michael Hancock
Editor -
[Bret Williams] ” Perhaps, just perhaps they’ve been working on the next big version and it was a scheduled to released alongside the iPad pro with touch capabilities. But as the iPad pro kept getting delayed they put their resources elsewhere “temporarily” or decided to focus on other things. “
Interesting thought. But I have to say, if they delayed a release and were pouring time and effort into making FCPX running on an iPad I would be incredibly unhappy with Apple. There are WAY more important things that need to be addressed or added to FCPX than iPad support.
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Michael Hancock
Editor -
[Jeremy Garchow] “On the very bottom of the browser, there’s a value for amount of time “selected”. “
Holy cow – I never noticed that little bit of text down there. Thanks Jeremy – it even gives you a total running time of your project, it seems.
While I’m glad it’s there, I have to say – what a terrible place to put it. And dark gray text on a gray background? There’s tons of negative space around the current timecode window at the top of the project window – it would be nice if you could just add more timecode windows there to show In/Out, elapsed, remaining, 30i Drop in a 24p sequence etc…
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Michael Hancock
Editor -
[Adam Berch] “In FCP X, after I put a transition down on the timeline, is there a way to make it “End On Cut or Start On Cut”, like we could do in FCP 7?
“Nope.
[Adam Berch] “Is there a way, when you put an In Point and Out Point on a clip in the Browser, before adding it to the timeline, you can actually see the icons for it?”
Icons for it? You mean the In/Out points? That’s now a range. I marks the In, O marks the Out.
[Adam Berch] “Also, is it possible to see the exact time of a clip between In and Out points, in the browser before putting down on the timeline? “
Mark your range (In/Out) and hit Cmd+D to see the duration you’ve selected. There’s no way to see both the timecode and your In/Our duration. It’s infuriating.
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Michael Hancock
Editor -
[Jeremy Garchow] “IT would be great if FCPX had kb shortcuts to let you navigate up and down the layers (or lanes) so that kb trimming would be more helpful outside of the primary. Keep asking for it, hopefully it will get done someday.”
YES! I have a huge list of feature requests I’m going to submit and this is at the top of it.
That little ball that’s on the playhead that shows you whats being show in the inspector – that could be the “focus” ball. It could determine which lane/clip your “select clip” or “mark clip” or “trim selection” affects, and if you could shift it up or down a lane or clip stack with the keyboard you could drive 99% of your timeline with the keyboard. And it would be FAST.
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Michael Hancock
Editor -
[Robin S. Kurz] “Which I’m assuming can only mean that you don’t use skimming at all??”
I love skimming in the event browser (or whatever it’s called). But not in the timeline when I’ve gotten to the trimming phase. I prefer precision at that point and find the skimmer to be way, way too imprecise. But I do use it in the rough assembly stage. I miss it when I go back to Premiere or Avid and I’m shuttling through long takes.
[Robin S. Kurz] ” In the cases where it in fact improves my speed/workflow that is. But that scenario is not one that lends itself to improved speed for me. You may want to try and erase some of that muscle memory?”
It would lend itself to improved speed for me, though, which is why I’d prefer they add a function rather than require me to work less efficiently. Adding the functionality I’m looking for wouldn’t take anything away from the people that don’t need/want it. But I’m certain there are loads of editors that would love it.
[Robin S. Kurz] “Then simply use ] and [ i.e. ⇧] and ⇧[ without the need for expanding?? Or does that not do what you’re talking about?”
I’m saying that I have my audio already expanded and make an audio only trim. Based on that trim I decide I want my shot to end 2 frames later (both audio and video). I want to leave my audio expanded, select the video and audio edits at the same time and trim them both 2 frames. You can’t do that. You have to trim them separately, or collapse then trim. It’s an extra step I’d prefer not to take.
Now, it may be incredibly difficult for Apple to add it to the program (I’m not a programmer but understand a “simple” change may actually be huge from the programming side), but from a workflow standpoint it’s a very small tweak to GUI and wouldn’t break any of the other functionality.
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Michael Hancock
Editor -
[Robin S. Kurz] “[Michael Hancock] “I have mapped “Expand all Audio/Video” and “Collapse All” to my keyboard so I can expand/collapse everything without having to use the mouse to close clips,”
How is that more convenient than just a simple double-click?”
I’m trying to minimize how much I have to use the mouse, so mapping those commands to my keyboard means I don’t have to touch the mouse.
[Robin S. Kurz] “[Michael Hancock] “but it’s a lot of extra buttons to do a simple video/audio trim. ”
Technically just one double-click more. No buttons. And why would even want the audio expanded if you’re not even working on it? Kinda contradicts the whole GUI concept, no?”
I prefer not to click the mouse whenever necessary. For reference, I’m coming from Avid and Premiere where 95% of my timeline functions happened with only the keyboard – and nearly 100% of my trim functions were keyboard based. Using the mouse takes me out of the edit and it isn’t as efficient for the way I prefer to work.
The issue with FCPX’s GUI in regards to audio/video trimming is that I am working on the audio and video at the same time. Sometime an audio only trim leads to an audio/video trim. The way it currently works I spend a lot of time expanding/collapsing tracks. The GUI is very limited in this respect and could be improved. I’ll make a feature request.
[Robin S. Kurz] “[Michael Hancock] “JKL trimming – that doesn’t exist yet in FCPX, does it?”
Not yet, no. Has been requested frequently. The most constructive thing you can do is go here:”
Thanks. I’ll bookmark the link and submit my feature requests.
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Michael Hancock
Editor -
[Noah Kadner] “Hmm— nothing is coming to mind I’m afraid other than connecting the audio to the original video clip and then disabling the original audio rather than using the built in sync function.”
Is this something I can do in the browser, or only in the timeline? I suppose I could create a compound clip and add the new audio there, but will the markers show on the outside of the compound clip? I’m guessing not – I’ll have to test it. Or I can “Open clip in timeline” and add the new audio there, but that’s changing the master clip and that’s dangerous, isn’t it? I remember reading about people opening a clip in timeline and deleting audio and not being able to recover it without reimporting the original clip.
[Noah Kadner] “Syncing creates a new clip and new clips do not inherit markers from their progenitors, (thus they are heterozygous in genetic terms I believe).”
LOL. It’s a shame the markers don’t pass on to the new clip (or at least have the option to). I’ll make a feature request.
Thanks Noah.
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Michael Hancock
Editor -
[Charlie Austin] “Also glad you could decipher what i meant by “noes filed” lol. I really should read what i write before hitting “post””
If you saw half the texts my sausage fingers type out and send (without proofing) you’d know that I speak typo fluently!
EDIT: Also, I know that you cut on all the NLEs. Have you remapped your FCPX keyboard, or did you just stick with the default layout? I’m coming from a Media Composer/Premiere background (I mapped the keyboard settings in both programs to be almost identical). I’m wondering how closely I can remap the FCPX keyboard to match them. Many of the functions in FCPX don’t seem to translate to the same commands from the other the NLEs.
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Michael Hancock
Editor