Ronny Courtens
Forum Replies Created
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Looking forward to seeing you there, guys!
– Ronny
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Greg Janza: I’ll add too that the now ancient and thoroughly boring debate of FCPX vs Premiere or Apple vs. The World has taken a back seat to practical advice.
+1
– Ronny
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The lead intro shows Pages, FCP X, Logic Pro X, and some game.
Under “The Power Couple” there’s a 27″ iMac with Resolve grading (not the NLE), next to a 21″ iMac with a game.
Under “8 Cores” there’s another shot of Logic Pro X.
And at the bottom, there’s a beautiful picture of a complete FCP X setup with dual screens and a reference monitor.
So I think that FCP X and Logic Pro X both get a very good exposure on that page.
– Ronny
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Hi Kyrina,
To use the Draw Mask together with Curves: duplicate the clip on the timeline, apply the Draw Mask to the top clip and adjust Curves. Only the area inside the mask (unless you Invert the Mask) will be affected by your adjustment. The attached pic shows an exaggerated correction using Curves inside a Draw Mask.
I would advise leaving Background rendering Off in your workflow because it creates lots of duplicate unused render files when you constantly work on the same clip. You can manually render a clip any time you wish by pressing CTRL+R (Render Selection) or render the entire timeline by pressing SHIFT+CTRL+R (Render All).
– Ronny
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How long you need to render depends on the complexity of your composition and the horsepower of your computer. If you experience very long renders on a clip, it also may have something to do with the kind of filters or plugins you use on that clip. Neat video, as an example, takes ages to render.
The question is: do you really need to render the clip every time you ake an adjustment? You could make adjustments as much as you wish, and only render the clip as a final check when you have achieved the result you were looking for. I do assume you have Background Rendering turned off because that’s what you should do when you constantly make adjustments to a certain clip.
As to curved masks, they are called Draw Masks in FCP X and you can find the Draw Mask under Filters > Masks.
– Ronny
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Hi James,
Continuous playback won’t work if Loop playback is enabled. So the first thing you might try is to toggle CMD+L to make sure that Loop playback is off.
– Ronny
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No one cares what NLE was used to make any film. The only folks who find it interesting are the marketing teams at Avid and Adobe.
I agree. This article just expresses the feelings of a very seasoned editor about why he exclusively uses FCP X for all his work, which he explains in much detail.
And our viewers love these stories. This case study is by far the most popular one we have ever posted on FCP.co, more than doubling the number of viewers of the case studies we published about movies like Focus and Whiskey Tango Foxtrot. So I think it is pretty relevant to keep publishing these, you may expect quite a few more of them in the coming weeks.
– Ronny
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There are several schools I know in Europe (and some really big ones) that do the opposite: they ONLY teach FCP X. This is one of them:
The Coordinator of the Postgraduate Diploma in Postproduction of that school (who is a seasoned Avid feature editor BTW) explains why he made this choice.
– Ronny
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I agree with Jay. And you don’t need to upgrade a MacBook Pro. You get the configuration that fits best for your current workflows, you write it off in the first year, and even after two years you still can sell it second-hand at a very decent price. Then you buy the next configuration that fits best for your latest workflows, a.s.o. This way, you always have recent hardware that will be compatible with the latest OS or whatever new things that technology brings us, and you don’t have to fiddle with anything.
– Ronny
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Mauricio,
I think everyone knows that I’m a huge proponent of FCP X, I have been involved in some of the largest FCP X integrations in Europe. And I actually agree with much of what you say.
But it seems to me that you haven’t been working with FCP X lately, is that correct? Let me go through your points one by one:
When will we be able to select and trim multiple edit points simultaneously?
Agreed, much needed. There are workarounds, but none of them are satisfying.
When will we get a two-up display when trimming with the keyboard?
Also agreed. We have it with mouse-trimming, we should have it with keyboard trimming.
More consistency when selecting edit points with the keyboard, I find the app sometimes will simply refuse to select an edit point, forcing the use of the mouse.
Not my experience. And BTW: using the mouse is NOT a sin, it’s a benefit. Using both keyboard and mouse where appropriate actually improves your editing speed. And that comes from a guy who has been frantic about pure keyboard editing all his life. Once you also start using the mouse, you will see how much it improves your skills.
In and Out points at the timeline (not storyline). It would be so good to be able to cut whole sections of an edit by simply marking In and Out as in every other software…
Nice to have, but not imperative. SHIFT+CMD+B (Blade All) already works fine for this.
Redo and Undo for any marking action, as in Mark In, Out, Mark Clip, clear Marks… .Any time I mark or unmark something I am accomplishing an action, so please let me undo it or redo it if I need to!
Same thing here. Just replace any mark with a new one and you’re done. No real need for Undo, but could be nice.
Searching for markers when you log a long interview for instance, putting a whole lot of markers for comments, you’d think that performing a search for an element contained in any one marker would bring the playhead
to that marker, thus actually helping you to find said marker. Instead the search only brings up the clip, with the playhead parked at the beginning, and you’re left with a whole list of markers to read through in order to find the one you’re searching for, thus defeating the purpose of the search engine….
I don’t think you are familiar with the Timeline Index. Select Tags in the Timeline Index and you will be able to search for any markers or elements in any markers on your timeline. Clicking on the result will bring you exactly to that marker.
Finding the playhead in filmstrip mode can be a nightmare. When you match frame to an event full of clips
it sometimes is nearly impossible to tell which clip you’ve match framed to and where the playhead sits…I find this annoying as well when you work on a laptop. But many of us use multiple screens, and you don’t have that problem when your Browser screen real estate is big enough. On laptops, just switch to list view for match framing and you will see the clip you have matched to and the exact playhead position without any problems.
And about matchframing, I believe if you have a dual system audio synced clip you can match back to the synced clip
but then there is no way to match back to the image or audio only original clips, which is sometimes necessary. Has this changed?Nope, and it would be useful to be able do this in specific circumstances. If this became possible, we would also be able to finalize multicams.
Disclosure triangles in list mode: do they still keep closing every time you go into a different event?
Having to open them each time can be pretty unnerving, the app should remember the state you left them in.Agreed.
Dupe detection, also such a basic feature…
Don’t get me started (-: You cannot imagine how many times I have explained to them why this is required.
Commit (or finalize) multicam clips, also basic…
Same story. Really needed.
Option to open compound clips in the timeline they’re at when double-clicking them (it would be so much easier than going inside them, away from your edit…)
One of my pet feature requests. Absolutely invaluable.
Synced clips and compound clips should inherit all metadata from the clips they contain: especially useful when working with double system audio, as scene and take info are usually embedded in audio files, it seems like a no brainer that once you sync up your clips the new synced clips should inherit this scene/take info, making it then very easy to rename them. Instead you get nothing, and you have to populate manually all those fields before renaming. Why? When everything is already there?
Disagree. All clips inside the synched clip keep their metadata. It is impossible to port these data over to the synched clip level because you will have multiple values and possibly conflicts.
Option to create sync clips from the timeline (is it possible? I think not but maybe I’m overseeing something?)
I don’t see any practical use for this. Syncing dual audio is something you do at the prep stage, not while editing.
Fix the annoying bug that makes the playhead jump all over the place sometimes when color correcting,
it makes it nearly impossible to work.Has been fixed.
Option to easily relink proxies.
If you want this for remote editing with proxies, you never should have a need for relinking if your workflow is correct. In other words: you ar holding it wrong (-:
https://www.youtube.com/watch?time_continue=365&v=UN-ArQnHQTc
More options for proxy sizes (rasters and data getting bigger and bigger, it would be nice to have more options, as currently, proxies can still be quite heavy…)
Would be useful, but then again drive space is very cheap these days.
Ensure the timeline playhead moves smoothly always, as in not skipping places, as well as timecode displaying every frame count and not skipping (this lagging might seem a small thing but I find pretty unnerving too…)
Depends on your system performance, nothing to do with FCP X. I have never seen this happening on any of the hundreds of projects I have worked with in the past years.
– Ronny
