[Patrice Freymond]

Also started checking the meters here and found two things I did not expect:

Nice one: if you pull left on the grey border separating the meters form the timeline the meters grow in with and become a very usable display

Not so nice: On top of each track there is a readout for the value the meter reads. Unfortunately this value does not update in real time (I tried with a -12 to -20 step). So it is nice but not usable…

patrice

[Patrice Freymond]

Can you elaborate about the options you mention?

Smoke and PP are in totally different leagues and one is over 10 times the price of the other, so I don’t quite understand how it could be one, or the other, without a bit more of perspective…

patrice

[Patrice Freymond]

Remembering all this makes clear once more what I’ve always missed since we went all NLE: the ability to make several changes to a picture at the same time, i.e. adjusting effects in real time whilst rolling the edit; turning two knobs would not only be possible but it also wasn’t stopping the machine. And sometimes the accidents that were produced this way became part of the creative process of that pre-plugin era.

Computers have taken most of this away with their “one command at a time” restriction, and it is only now, with more powerful machinces and software, that there is a hope that we may regain the capability to make adjustments on the fly within the editing tool.

patrice

[Patrice Freymond]

No I don’t think the analogy works for FCPx is much too young (beta) for that. Now, in those days a manufacturer would probably not survive if launching a product so unfinished as this one.

I would agree that the ACE was a different proposition form the others but not that different. I worked on CMX 340 and 3400, then ACE (both touchscreen and keyboard), Sony 9100 and Axial, and the level of integration offered by the ACE when hooked to an Ampex switcher (AVC Century), ADO and VPR3’s was second only to what Sony did later with their combination of 9100, DVS switcher and DME7000 dve.

Maybe a better comparison, if I may, would be between what Quantel did with the Encore DVE when most others were more or less following the path started by the ADO. But then the world of DVE’s was always one without much rule…

BTW Brian, that picture is of the ACE 25 which I hated for all its limitations…

patrice

[Patrice Freymond]

Everybody,

thank you for the help. I am walking away from the mac pro for a while but if it happens on the laptop I will know what to try.

again, thanks,

Patrice

[Patrice Freymond]

“Don’t you mean 10.6.8? Not 10.6.3.”

Sorry, I meant 10.6.7. I haven’t updated to 10.6.8 due to many people experiencing problems. Will try to log in with another user and see if it fixes it.

Thanks for the help

patrice

[Patrice Freymond]

Are we to witness a return of THE CUBE ? Oh, so eighties…

Thanks though, and I second what Simon says, drop zones are finicky….

patrice

[Patrice Freymond]

Whilst the precision editor is not available in secondaries, you can still select a cut () and roll it numerically (from num pad), or ripple [ or ] the same way.

I used to edit linear so maybe it makes it easier for me to do this as I grew a habit. I understand that most of those who learnt editing on a non linear system are used to “see” as they trim. Same as they are usually happy to use waveforms, which, with a few exceptions, I always have turned off. Old habits die hard…

Having said this, I also sent, amongst many requests and bug reports, one that asks for the PE to be available everywhere (oh, and for it to behave consistently when used from the keyboard….it does not at the moment).

Patrice Freymond

Senior editor
FCP Certified Trainer

patrice@monteur.tv

[Patrice Freymond]

Adding to the above, it turns out that pasting static effects, i.e non keyframed over time, works. But as soon as I copy an opacity change or an animated 50’s TV effect, only part or none of the effect is copied.

patrice

[Patrice Freymond]

Hi,

when you cut the compound clip (I imagine you use blade for that), you effectively create 3 compound clips.

If I understand what you want to do I think you must create the compound clip with all three cameras, open it in timeline first, and then add markers, blade the “tracks” and remove the unwanted parts.

hope this helps and does not add to your confusion, guess we’re all a bit confused at the moment 😉

patrice