Richard Herd
Forum Replies Created
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Depends the construal of Mac Pro.
Will it be a noisy and mostly ugly tower? No.
Will it have massive computing power? Yes.
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I refuse to use the term workaround because it’s really technique 🙂
I cut the picture first, then lock it. Then I use the Jim Giberti Technique to create secondaries. Then I dump effects and music into those tracks, err…I mean: Secondaries. They stay where the are. They are not relative. It’s a common misconception. If I want to precision edit and not disrupt the relative position, then I Copypasta the clip as an attached clip , then I hit “P” and that turns of magnetism, and I re-place the clip into the secondary.
It’s really not so clever to be honest. My first step in any editing is to “remove the cat from the keyboard”; “turn the computer on.” What I mean is, what I said above is pretty banal (excepting the Giberti Technique, a brilliant insight!). It’s just how the software works. In Legacy, it’s like saying, first you have to unlock track 2, hit shift-L, edit, resync…blah blah blah.
can’t believe anyone read this far
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[Andy Neil] “and reject the ones that are completely unusable”
You can also range select footage and delete it and it becomes rejected. Then you can choose to display “hide rejected.” The footage doesn’t go away, it just gets marked with a red bar.
A couple of other niftiness:
In the timeline Range select some stuff then hit CMD-R.
In the timeline select a clip, hit CTRL-S. Then range select some audio and adjust the audio level.
With two clips in the timeline select a couple clip, hit CTRL-S, then, drag the picture.
In the preference window, CMD-, select the editing option to “show detailed trimming feedback.” Back in the timeline, double click the between to clips to reveal the Precision Editor.
Oh yeah, dirty little secret: There are tracks in X. They are called secondary storylines.
These things, for me, have made editing very very fast. Just yesterday I cut a thing in Premiere Pro and it was obvious (from a cutting point of view) how efficient X is.
The other stuff like media management is pretty cool too and personally I like 3rd developers creating things like 7toX, xtopro, and clipexporter.
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[Michael Hadley] “non-paid projects”
What? Free? If that’s actually the case, I have some footage a client needs editing. I’ll keep the fees, and you can learn 😉
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Next time do this.
Skim a clip hit I. Skim a bit further hit O.
Then hit Q.
Then click the clip in the timeline and hit SHIFT-F.(Nice post, I laughed at the mirror image conceit!)
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Before you get to far in your prognostications be sure to read Walter’s article at the top of this board.
https://magazine.creativecow.net/article/a-cautionary-tale-for-the-fcp-switcher
The ensuing discussion has a very important discussion on media management.
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Once the clip is in the timeline, select it, hit Shift-F.
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[David Lawrence] “2012 technology has nothing to do with UI design. The UI metaphor is whatever the designer chooses. A trackless timeline is a design choice, not a technology.”
And in a metadata environment, I’d guess the audio UI should be nifty. “Should” is a pesky word there, subjunctive mood. Simultaneously, it means the hypothetical future and the past tense. Oh Apple! What they should’ve done; what they should do! An entire forum devoted to the cause.
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Or you can use secondaries and “P” and Shift-F.
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I’m no essentialist philosopher. I don’t care about essential qualities or arguments about necessary features before a label can be applied. If it, or better yet, if I can get it to behave like a track, then it’s a track. If you can’t get it to behave like a track, then use a different UI. Does it matter to me? No. Does it matter to you? No.
The point of tracks is simultaneity.
The guy who said it was non-linearity has confused the two terms.
It’s all to me a bunch of silliness, but I do enjoy a good craigslist.org type open forum thread circa 2001.
I hope your clients are happy! I hope they return for more work!