[Paul Dickin]

Hi
On page 72 of the pdf manual it describes the Menu Setting for audio recording:
[Record Setup]>[Mic Setup]>SURROUND or ZOOM or FOCUS or STEREO.

So there is the option of 5.1 or 2.0 AC3 recording in 1080 mode.
As you say only 2.0 is available in iFrame mode.

[Paul Dickin]

[Marvin Holdman] “If you tell a lie big enough and keep repeating it…”

[Steve Jobs @ WWDC 2011] “The truth is in the Cloud!”
Hi
One major factor in the longevity of Goebbells’ big lie was in the outstanding creativity of his cinema newsreel teams. The propaganda was – unexpectedly for me – for the most part secondary to the way the cameramen, writers and film editors told their stories. I’ve watched dozens of hours of fascinatingly told documentary reportage from the weekly newsreels. In its time it was at the cutting edge of the evolution of 20th century film story-telling craft.

Apple core decision-making processes are also ‘shielded’ by a screen of outstanding creatives. But the way they have recently treated their ‘ loyal customers’ in the professional video post-production world means that we would be well advised to keep Apple under closer scrutiny in future as they move into this new Cloud-based scheme of things.

What’s best for Apple may or may not be what’s best for all the rest of us, Time will tell… 🙁

[Paul Dickin]

[Jeff Bernstein] “Apple’s success in the multimedia markets, especially the broadcast market, is not because of Apple. History will show that it is despite Apple. But that is another topic for another time.”
Hi
Nice article, very timely. That’s more or less how I remember it.

[Jeff Bernstein] “The latest fiasco is the B&W G3…”
Where I lived in the UK there was just one Apple retailer, with a sales force of 4 or 5 selling into the pre-press or educational market. I was on the periphery doing video editing training for their clients. At the end of the session where this sales team was introduced to the new B&W G3 they all looked at each other and said with horror “how the hell are we going to sell a Bondi blue computer into a professional environment – we’ll be laughed out of the door!”

Luckily the graphite G4 soon followed, interestingly with 4 PCI slots later reinstated – which was crucial for professional media production. I think the clamour does help getting Apple to reconsider ill-judged decisions.

[Paul Dickin]

https://www.youtube.com/watch?v=jelhPSA-1ec

[Paul Dickin]

Hi
Does this reply help?
https://forums.creativecow.net/readpost/344/804

[Paul Dickin]

Hi
Does this answer your question?
https://support.apple.com/kb/HT4714

After installing Final Cut Pro X, Motion 5, or Compressor 4, be sure to run Software Update to download and install Pro Apps QuickTime codecs.

This update adds the following video codecs for use by QuickTime-based applications:

• Apple Intermediate Codec
• Apple ProRes
• AVC-Intra
• DVCPRO HD
• HDV
• XDCAM HD / EX / HD422
• MPEG IMX
• Uncompressed 4:2:2

This update is recommended for all users of Final Cut Pro X, Motion 5, or Compressor 4.

[Paul Dickin]

[Andrew Richards] “Why though? Why couldn’t they…”
They didn’t 🙁
Designer’s whim.
As old FCP always had its Capture Scratch folder set by the application’s preferences, not by the project.

[Andrew Richards] “…the new Events & Projects structure is absolutely a nod in the direction of the iMovie crowd…”
As is having still graphics in iPhoto and audio assets in iTunes.
In this iteration of FCP X – beta 0.9? – the media management design philosophy seems no further developed than iMovie.

[Paul Dickin]

[Andrew Richards] “I’m just pointing out AVFoundation isn’t the reason for the Magnetic Timeline.”
Hi
Agreed.
But I think it is an underlying reason for FCP X’s Project = Timeline (singular) = ‘one complex big mutable composition’ structure, which is more of a sticking point to me than the magneticness of the timeline display.

[Paul Dickin]

[Franz Bieberkopf] “[Paul Dickin] … on AV Foundation. “It seems to me that the section I’ve emphasised is an excellent description of a basic FCP X timeline.”

Yes, indeed. It is also an excellent description of any timeline in any editing software.
“
Hi
But its not describing ‘editing software’. Its describing the OS’s media-assembling foundation.
No other OS does things this way. So its freed the ‘editing software’ so that it can, if appropriate, present something else to us.

[Paul Dickin]

[Andrew Richards] “…that emphasized section can also describe traditional timelines.
…The traditional timeline represents a “mutable composition” just as much as the Magnetic Timeline.”
Hi
Can, yes.
In the old project terms what it represented was the Project. Hence the inflexibility inherent in the layout of the traditional NLE timeline.

In the new scheme of things the GUI could be released from such inflexibilities.
In what way the interface should best be developed is what needs our attention 🙂
In my view staying the same as it has been is a retrograde option.

[Andrew Richards] ” …is flexible when you can zoom the scale on a NLE timeline.”
Sure, But make the zoom-level keyframable so the timeline is always presented at a non-linear magnification. That would save manually controlling the view of the work-space every time you play that section.

[Andrew Richards] “…an NLE timeline might shift from 60fps to 24fps and back within the same timeline. “
In the old days – Premiere v3/4 before Media 100 came along – in the QT .mov exported from the timeline a freeze frame could exist as one variable-length single frame, however long it was.
Which was cool and efficient 😉

Playing at a constant frame rate is only mandated by the broadcasting chain, and the inflexibility of tape technology.
Doesn’t mean that a modern-looking NLE should be limited so as not to be flexible enough to deal with future distribution technologies.