Misha Aranyshev
Forum Replies Created
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[Craig Seeman] “I thought you were asking about Cut and Paste.”
I was. Cut removes the clip from the timeline leaving the gap and stores the clip in clipboard. Paste places the clip stored in clipboard on the timeline at playhead position overwriting whatever happens to be there.
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[Chris Kenny] “On a feature project, for instance, you can easily turn scenes into compound clips, at which point your main sequence is nothing but a series of clips with names like “Scene 1″, etc.”
And what that would accomplish exactly?
[Chris Kenny] “Not at all, because you can tag them in batches before they’re edited in. If you have an SFX library imported as an event, for instance, you just tag everything in it SFX to begin with. Now drop clips in anywhere, and they’ve still got that tag.”
This is very simplistic and remote from practical. Try instead this:
Production sound comes to me in BWF-poly files with a track for each character, a boom, an M+S pair and a production mix. I sync them to the picture takes and go on cutting the scenes. The production mix track is usually good enough so I just mute all other tracks. But I don’t delete them becuse when picture is locked I have to export each 2000 ft reel with all the sound. Almost every cut in there is either J- or L-cut so it is all arranged in the checkerboard fashion. There is also some M&E but this doesn’t complicate matters. So how exactly do I tag my production sound and how long would it take me? What if the budget is shifted from sound editorial to picture editorial and I need to give the sound editor more sophisticated stems?By the way you participated in both threads I posted this question.
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You left out Dele… er, Replace with Gap so make it three-step. As for New Replace I would trade all three for a good old F11.
https://forums.creativecow.net/thread/344/939
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Sorry but without poll script it just duplicates an earlier thread —https://forums.creativecow.net/thread/335/7614
It’s B by the way
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It ripples
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[Chris Kenny] “Imagine if word processors worked in overwrite mode by default”
I don’t have to imagine. They did. It was horrible. When they were gone everyone celebrated.It is irrelevant though because time relates to written text in totally different form than to moving images.
As for the falling professional standards it is clients trading quality for costs. FCPX won’t swing it in any direction.
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Sure. One way is to create a problem and when to come up with some clever and not so clever solutions. Another way is to not create a problem in the first place.
[Chris Kenny] “Actually, I’m saying there’s nothing inherently ‘non-professional’ about the magnetic timeline, and slapping a “don’t get it” label on people who say things that demonstrate they don’t get it.”
Fine. And I’m saying this feature is inherently “non-professional” because it is designed to solve the problem no one regularly practicing editing ever has. Casual users of editing software on the other hand make cuts with accidental flash frames and gaps all the time.
Both are opinions. The difference is the benefits of magnetic timeline for someone regularly practicing editing are yet to be seen. The benefits for a casual users are immediate. Occam’s razor.
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It will delete. It will not place a clip into the clipboard.
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“Cut” you know. Command-X. In the Edit menu. Paste. Command-V. They ripple.
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[Chris Kenny] “You can’t just arbitrarily declare that FCP 7’s features are just the right ones, so FCP X must be less professional, or whatever”
Why not? You’re arbitrary declaring magnetic timeline the future of editing and slapping “don’t get it” label on people who disagree because you can. I can express my opinion too.
[Chris Kenny] ” think what you really mean is that they had modes where they’d ripple by default, but with the magnetic timeline that’s just one piece of the puzzle.”
No it is not. The whole “magnetic” thing is just same old insert mode. All other bizarre stuff comes under the “trackless” moniker.