[Robin S. kurz]

[Herb Sevush] “I don’t recall him talking about any other aspect of editing.”

FYI: “Premiere is still awesome, but I’m switching for the performance. Playback, FC, rendering, everything is faster in Final Cut Pro 10.”

https://twitter.com/MKBHD/status/682232882090405888

– RK

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Premiere is still awesome, but I'm switching for the performance. Playback, FC, rendering, everything is faster in FCPX.

— Marques Brownlee (@MKBHD) December 30, 2015

[Robin S. kurz]

[Oliver Peters] “Depending on the machine and the size of the project/timeline, it can affect performance.”

Currently editing a(n optimized, of course) 5K RED, 2×2 hour project off a TBo RAID on an older MBP and can’t say I’m in any way disappointed by the performance. Quite the opposite actually. YMMV, sure.

Would e.g. scrolling be a little faster here or there with the “chicklet” option? Probably. But it would also drive me absolutely nuts to not know what I’m on in the timeline at a glance and slow me down considerably more, without question. No idea why anyone (not stuck in the 90’s) would prefer working that way. I couldn’t even understand it with legacy FCP where you at least had ONE thumbnail which was well worth the (actual) slow down for me. Getting entire filmstrips with no performance hit worth mentioning are a huge boon for me, if not a dream come true. Especially when doing things like slides… brilliant.

Something you wouldn’t even want to consider with most (all?) other NLEs, I know. Oh well.

But hey… to each his own as they say.

– RK

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[Robin S. kurz]

[Oliver Peters] “For example, you can’t work with split-edits in the chicklet view. You can’t work with split-edits unless you expand audio using one of the other views. So, if you typically work with small timeline “tracks” (the chicklet view), then it takes 2 steps before you can even perform a split edit.”

I personally find that display mode rather counter intuitive (i.e. Avid-like) and never use it, so it’s not an issue I’ve ever run into. Never even occurred to me that you couldn’t expand the audio in that case. 😀

But even if, for whatever reason, I wanted/needed that tiny size for editing, I’d use one of the first three display options and simply move the clip height slider all the way to the left. Done.

I’m fairly sure the few vertical pixels more wouldn’t exactly bother me much. But maybe that’s just me.

Either way I simply use the shift-bracket shortcuts for a quick audio edit-point selection and extend the edit as needed. Very quick, very easy.

– RK

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[Robin S. kurz]

[Andrew Kimery] “Previously discussed”

Um, yeah… so? I’m aware that the “pro” crowd stands in disgusted disbelief, yes. 😀 The whole point is that it’s being done, and not just by eight year olds and it’s very much “commercially viable”. Whether someone has their technical gripes with it or not. Or would an Alexa et al somehow have changed any of it to the point of any true relevance? Or are maybe just the Alexa owners miffed that they’re not getting a job, since hey, they’re technically so much better? As if, somehow, that’s the only thing that counted?

Horses for courses.

– RK

[Robin S. kurz]

[Andrew Kimery] “Conversely, a Cowboy Preacher might be be just fine with the results an iPhone can give.”

Or even a company like Bentley? Even after it was shot on an iPhone and even assembled on an iPad.

https://www.youtube.com/watch?v=lyYhM0XIIwU

Clearly little shame in that.

– RK

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[Robin S. kurz]

[Craig Alan] “If I use red clip skimmer to go to a frame in the handle, how do I set the new out point?”

I’m assuming you mean when in the PE? Simple click on the frame? Or good ol’ ⇧X?

– RK

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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich!

[Robin S. kurz]

[Craig Seeman] “Some people were confused in their testing because they found iMacs faster than MacPros. “

Not sure how that’s really relevant in this context, since the comparison is the differences between NLEs, not different Macs.

But then, as of 10.1 and the new entropy mode that both FCP and Compressor use for multi-pass encoding, it would be pretty silly to encode single-pass on a Mac Pro anyway. In which case it easily smokes any other machine at multi-pas i.e. is faster at multi-pass than any current iMac will ever be at single-pass.

[Herb Sevush] “For those of us who edit longer pieces where export speed is not foremost on our minds – this is interesting but not compelling.”

Sure. PPro users never ever need to render during the edit either. I forgot. But yeah, somehow I’m not surprised how any clear advantages X has are somehow “not needed by real, hard working editors”. :-))))

Like I said. Just some silly YouTuber.

https://vimeo.com/134302519

So I guess the OP isn’t actually in any way new news. Just cause and effect.

– RK

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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich!

[Robin S. kurz]

You don’t think it could be… content, do you??

😉

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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich!

[Robin S. kurz]

[jan maslow] “Do you know of any really comprehensive, in-depth courses that would cover things like this and how to use things like simulation behaviors for many different effects?”

The by far best (if not ONLY) place to go: https://www.rippletraining.com/categories/motion/

Worth every penny, by far the most comprehensive. didactically sound.

– RK

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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich!

[Robin S. kurz]

[jan maslow] “you can make the layers you want to be affected 3D, and keep the others 2D.”

Actually, you simply turn the shading off for whatever 3D layer. I can’t actually think of any situations where keeping something 2D just for lighting reasons will actually work as needed.

– RK

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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich!