[Robin S. kurz]

See my reply in your other thread for this.

Bottom line: if your original media isn’t on your disk yet, then you’ll have to import first to the desired external location, then switch the library properties back to the (local) library and create your proxy. You then can simply disconnect the external source, switch to proxy and use the generated files for editing. When done, reattach the external media and switch back to Original/Optimized for output.

[Robin S. kurz]

Whilst we’re whittling away at each other’s tips :)… you don’t even need ⌃S! With the playhead at the edit point simply hit ⇧[ or ⇧] and the clip expands with its audio edit point selected. 😉

And the up and down arrows don’t move the skimmer, they move the playhead. [scnr]

[Robin S. kurz]

Erm… it doesn’t give you that option because why in the world would you want to leave the material on the camera/card?? Aside from of course being horribly SLOW, the moment you removed it, everything would (obviously) go offline. That’s a “protecting you from yourself” feature.

But again… you CAN theoretically do what you want. Set your import folder, import the footage, then simply switch back to the library before generating any optimized, proxy and/or render media. Whether there is sense in extending the storage options to include additional options for each folder (to avoid the switch) is debatable. But who knows what the next update will bring.

But the whole point is to make collaborative editing that much better. In which case if e.g. you and someone else were to work off of the same original material or even the same project as a whole, but both had their own optimized and/or proxy media LOCALLY that only either or could access, that would make things an unnecessary mess. If it even worked to begin with. From that perspective it makes total sense to do it the way they are doing it, to avoid unnecessary issues.

[Robin S. kurz]

1. Yes, it works just “fine”.
2. Why would you want to rack your brain over those issues instead of just simply getting 5?? 4 isn’t even 64bit!

[Robin S. kurz]

[James Ewart] “What […] broadcasters have adopted FCPX”

Like I said, The E. W. Scripps Company would be the most recent example: https://www.apple.com/final-cut-pro/in-action/scripps/

Or Azteca, “one of Mexico’s leading broadcasters and its second-largest mass media company”: https://www.apple.com/final-cut-pro/in-action/azteca/

And as far as the BBC is concerned, FCP X may not be used BY them so much, but it sure is being used FOR them: https://www.fcp.co/final-cut-pro/news/1140-using-final-cut-pro-x-to-edit-a-documentary-for-the-bbc

In fact, I think that the really BIG broadcasters are the *worst* possible example to follow, no matter what area we’re talking about. Because they are obviously the ones to move the slowest by far. They themselves follow the masses in the end, but don’t innovate or really decide much on their own. They may STEER a little, yes. Primarily due to their size (and buying power). But again, I don’t see them as any measure for *the masses* that ultimately decide on the success or failure of products. Change, even the slightest bit, is a HUGE thing for them. Not done easily, quickly or gladly. The biggest public broadcasters here in Germany (a lá BBC) that I deal with on a regular basis still master most of their stuff TO TAPE! Nuff said. 😉

I personally think it’s the schools and the SMALL and newer production companies and independents that one needs to measure any success by, and that over time. And I see FCP X a LOT in those areas. Maybe not exclusively and maybe not everywhere, but the numbers are growing quite steadily. It’s both technically AND economically the perfect product for them. And now that the initial vitriol and ad hominem rants over the release are dying down to just a whisper, more and more are warming up to it. (I teach on the side and media academies and training certers I work for have been *increasing* their request for FCP X training quite noticeably over the last 6-12 months)

I personally believe that history will repeat itself as far as FCP is concerned. As with legacy FCP (which was also VERY poorly received in its beginning, don’t forget that, and didn’t even have audio meters etc. for the first few versions), X just needs its time to mature and sink in, in part because it’s also as much a slap in the face to the status quo as I recall 1.0 was, and them there “pros” do not take kindly to that! 😉

We’ll see. I guess I’m just lucky that I’m the boss here and don’t have to cater to other people’s beliefs and misconceptions, but can choose what fits me best.

[Robin S. kurz]

You’re missing something. 😉 Or rather you’re confusing the options. Whether your media is left in place or copied into the library where the event resides is decided UPON IMPORT in the import window.

The library properties (⌃⌘J) is where you can decide on where everything else goes OR change their location by defining a new directory (or simply the library itself) and consolidating. So if you e.g. copied your media to the library but want them elsewhere later, simply set that location in the library properties and hit consolidate. Yes, in THAT case everything (optimized and proxy) go with it. Which is why you need to know what and where when you import.

[Robin S. kurz]

No offense, but, as I hinted previously, to take what is happening in your immediate vicinity as any type of a yardstick for an entire industry is rather short-sighted and a tad arrogant, don’t you think? I’m pretty sure any American alone (especially if in L.A. or N.Y.) would scoff at that notion either way. And why is the broadcast industry in itself any deciding factor at all for the popularity, let alone usability of any given NLE? Broadcast makes up only a tiny percentage of the entire media/editing/NLE using market and your share of it even that much smaller. I don’t see why I as an end user should really care either way, unless of course I’m in fact working FOR or directly WITH them and they require I use something else. Which has yet to happen to me personally. FCP, all versions included, is still the market leader by the way. I use what offers me the biggest bang for my buck, and that’s currently FCP X by a long shot, as it is for many in MY vicinity.

But to answer your question, there are many. The currently most prominent of course being The E. W. Scripps Company, Azteca and others.

[Robin S. kurz]

Stope??

And you might not want to carelessly apply your immediate surroundings to the rest of the world as some sort of global or even vaguely representative yardstick of an entire industry. FCP X is lightyears from “dead in the water”. If anything, then that actually describes Avid quite fittingly IMHO. They are way out of the loop and have been for a very long time. I work for and with a lot broadcasters and schools throughout Europe. Avid is not even a faint consideration for any of them for the future. Most haven’t even updated the MCs they have in years. It’s FCP X and/or Premiere all the way.

[Robin S. kurz]

It has never been that way with Apple. Aside from there actually being very little (i.e. nothing) along the lines of “majorly new”.

[Robin S. kurz]

“Can’t we already store optimized media at any location?”

Erm… no. Until now ALL optimized AND proxy media went into the library. You’re confusing it with ORIGINAL media.