Neil Goodman
Forum Replies Created
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or you can make a gap clip the length of the song in the primary storyline. Connect the song underneath, and then connect the video clips above. Same difference as just putting the song in the primary timeline, except then once you have you cuts all synced and everything you can choose to drop it all down on the primary storyline for easier use of effects etc, and keeping the audio intact. Seems to work o.k. altohugh the first technique mentioned is just as good.
Neil Goodman: Editor of New Media Production – NBC/Universal
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i am also bummed to see no “show excess luma” in the viewer and no exclamation mark for un safe color in the viewer 🙁
Neil Goodman: Editor of New Media Production – NBC/Universal
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yea my point izs, by the time your finished with your, cut those files arent really ready and you have to sit and wait for the program to catch up. Which is about the same time if not more than just doing that beforehand in mpeg or compressor, and then rendering as normal.
Neil Goodman: Editor of New Media Production – NBC/Universal
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im see what your talking about, and yes it works in that sense, but if the function is already built in there with compound clips to be able to have there own timelines, it cant be hard to implement a second timeline all together since the functionality is there (tabbing thru multiple timeline) they just wont let us use it in the way id like to ans instead make us make new projects. Dont see the point of it.
Neil Goodman: Editor of New Media Production – NBC/Universal
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but if you dont dont transcode, then essentially your editng an h264 file, which doesnt quite hold up the way a Pro res file does when it comes to color space and whatnot ans also isnt as fast and efficient in the way your computer handles it.
I do like you can see the effect almost instantly while it does render, thats a nice touch for sure, but still everything seems a bit faster, even basic rendering of a say a color correction in FCP 7.
Neil Goodman: Editor of New Media Production – NBC/Universal
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yup. Just got mine. The cool thing is the program is still on my comp and working. Now i can actually “Beta” it and decide wether to jump back on board later. Yea, technically this pirating which im normally not a supporter of, but, hey we got screwed so i see no harm.
Neil Goodman: Editor of New Media Production – NBC/Universal
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In LA, mostly all the networks are still using Avids. So know matter how well you know FCP whatever the version, not knowing AVID to begin with is a severe oversight.
All broadcast work ive ever done wether for NBC/UNI, BBC, etc has been on Avids. These companies use FCP for there predators, and for sizzle reels.
Im not saying it cant be done on FCP because it can, but all these companies invested hundreds of thousands on Avids in the 90’s-2000’s and therefore wont even consider the switch, just like FCP7 house shouldnt be thinking about switching now, until they actually know the future ofr final cut, which nobody cept the dev team knows.
Neil Goodman: Editor of New Media Production – NBC/Universal
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cant you go to the mac store, or did they clear the stock off the shelves on day one too?
Neil Goodman: Editor of New Media Production – NBC/Universal
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i agree, my typical dual moniter setup is the browser/timeline on one, and my viewer/canvas/sometimes scopes on the other. This is a severe mis use of screen space imo, hopefully in the next update you can undock, and resize.
Neil Goodman: Editor of New Media Production – NBC/Universal
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honestly, it looks like it would be way easier to switch to Avid or Ppro and pick up the workflow then it would be to wrap our heads around the timeline in fcpx. Atthe end of the day, for all its unnecessary intricacies, Avid is alot like FCP interface wise.
Neil Goodman: Editor of New Media Production – NBC/Universal