Ronny Courtens
Forum Replies Created
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I didn’t find this video interesting at all. I seriously think it would make more sense to post it on the PP forums instead. FCP people who seek info about PP usually would go over there in the first place. Or even better: they would give it a serious test-run and see for themselves if it fits their workflow or not. Personal experience is still much more convincing in the long run than internet blabber, as we all have witnessed with FCPX.
And while we are at it: this whole “FCPX Or Not” debate has really lost its meaning anyway. It has become quite obvious now that FCPX is here to stay and that it is rapidly gaining acceptance and popularity with a broad range of professionals and semi-professionals alike. Accept it and get over it. I hear more and more people say that they have been wrong about FCPX, although it clearly still is a work in progress. And I have the greatest respect for them. You would be surprised to see how many posters I have been assisting recently on another forum, who are learning FCPX while they currently use PP CC. One NLE does not necessarily exclude the other anyway.
As I said in another thread I could consider adding MC7 to our workflow when our film and broadcast shops come under the same roof next year. I think at this time Avid MC7 and FCPX combined offer the best of both worlds to serve a broad client base. Both excel in specific features that the other is missing or hasn’t fully developed yet. But before deciding anything I will wait and see what the end of this year brings for FCPX. Just like Herb I would love to see that one magical NLE that excels in every single feature any editor would ever want. But this NLE does not exist, and it probably never will.
– Ronny
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Agreed.
If you have only a few long clips to export for transcripts you can use Open in Timeline and drop the Timecode generator or the TimeCode Effect on the clips in their timeline. This will give you the correct burnt-in source time code and you can export to any format straight from this timeline.
But if you have a load of short clips to export this method takes too much time. We absolutely need a time code reader that reads source tc from the clips on our main timeline.
– Ronny
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Greg,
These export times seem ridiculously long for the system you have.
To what format are you exporting your timeline? Do you have many titles in your projects, or long scrolling credits?
– Ronny
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Glad it works for you.
We often add an adjustment layer before we add subtitles to a complex timeline, or when we need to paste multi-layer graphics above an already complex edit. The adjustment layer prevents any new items from dropping between existing stacks of clips or lower thirds above the Primary, and it keeps our timeline visually organized.
– Ronny
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Correction:
As I didn’t find any other posts about in points shifting or jumping place, nor about goto I or O not working properly, this got me thinking. So I asked our editors if they ever had issues with this and the answer was no.
Then I went back to the system where I did the test yesterday and I saw that I had used native H.264 footage for the test, something we never use in our shop. I tried to replicate your issues again on a ProRes timeline and I could not. I can place I and O points wherever I want, even an 1 frame before the end of a clip to an 1 frame after the start of the following clip and everything always stays in place. Shift+I always brings me to my I point and Shift+O always to my O point. So my question is: are you working natively with any kind of long-GOP video?
As to your other points, I agree to a certain extent:
At this time you do a Match Frame on your timeline, press I to confirm the In point in the matched clip in the Event and then you set a range on your timeline. I find this works, although I agree it would be useful to be able to first set your range on the timeline, then match to I or O. Submit a feature request for this.
ALT+X always clears the range you have set in your timeline, I see no problems with that. I you only want to clear the I or the O points, use ALT+I or ALT+O.
Personally I have no need for Undoing or Redoing ranges, nor have I heard anyone complaining about this in our shop or on forums. But if you would like this to be implemented submit a feature request. The more people ask for a certain feature the higher it will get on the priority list.
Kind regards
– Ronny
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Edgar,
Thank you for this free book. I must say your graphically enhanced manuals are really good!
I have been using the Logic Remote app for some test runs and IMO it’s the best controller on iPad I have ever had in my hands. Beats any current controller software for FCPX by miles. Although I find I still edit faster using a keyboard I hope Apple eventually creates a similar app for FCPX.
– Ronny
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Daniel,
I would be very interested to know why you have to use this workaround as well.
As to your paste issue, try this:
Put an Adjustment Layer on top of your entire edit. Then copy/paste as connected. Do all the copied clips get pasted as connected clips above the Adjustment Layer now?
– Ronny
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I have also replicated it. Never seen this before either, so it must be since 10.0.9. I guess that’s why no-one has ever complained about it. Submit a bug report.
– Ronny
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[alban egger] “I am very surprised how many agencies have switched to FCPX in the last 6 months.”
We have some of the biggest agencies as our clients, and I am seeing exactly the same thing. They prepare their projects in FCPX and bring us the logged media with selects and even rough cuts for fine-tuning and finishing. A perfect workflow for us
– Ronny
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I agree the next major update of FCPX and its performance on the new MacPro could be important factors in decision-making.
Yesterday I had a meeting with our editors to assess our FCPX workflows and see where we could improve. Although we work with maxed out MacPros and the “latest and greatest” iMacs the general consensus was that faster hardware would be welcome, especially for handling long-form and effects/title-heavy projects. And another thought came up.
As we are on the verge of merging our film dept. (still on FCP7) with our broadcast post shop (now all FCPX) some people suggested to gradually replace our FCP7 bays by Avid MC7 for our film and tape based work. I honestly think that’s not a bad idea.
FCPX excels in the areas where MC is lacking, and MC is king in the areas where FCPX is still weak. Premiere CC just seems to be somewhere in the middle of anything, so we’re not interested. Having both MC7 and FCPX under the same roof running on the new MacPros could offer the best of both worlds to serve a broad client base. Most of our editors are very familiar with MC (we used to be an Avid house), and they all love working with FCPX as well. And both NLE’s work nicely with our GC and finishing tools (Smoke/Resolve). Wether or not this will be our road for the future will partly depend on what we see happening in the next major update of FCPX, and on how well X and MC will perform on the new MacPro. Exciting times indeed.
– Ronny