Simon Ubsdell
6
COW Coins
Forum Replies Created
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OK, I think I’ve worked it out – Shift-S only influences skimming mode audio scrub not anything else which is not what I want at all. I passionately hate hearing that stab of audio you get when you move the playhead and I’ve hated it as long as there have been NLE’s – turning it off is always the first thing I hunt for!
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
Thanks, Gregor – you’re absolutely right, but it’s buggy as it turns out – works sometimes but not others which is what was driving me mad and still is.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Micajah Smithson] “Apple just opened them up to a lot more potential purchasers of their training”
You better believe it – Larry Jordan proudly boasted of the 1.2 million hits ot his website within the first three hours of the release. Can you even begin to imagine how much money that will translate into in earnings for him?
Of course, he’s going to be positive – he’s just found his goldmine. Doesn’t matter what he thinks about the actual product, he’s just gonna keep on a-smilin’ all the way to the bank!
I can’t quite indentify why but I don’t like that particular state of affairs.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
I ran the same test again – and got a different result this time!!!! So you’re absolutely right and yes, this time it messed up before the hold as well as after. So use with extreme caution but preferably not at all, thanks for the heads-up on this one.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
Yeah, absolutely sure.
I made a 4 second clip that consisted of a timecode generator running at 25fps and brought that in. I made a Hold at 2 seconds, then put a copy of the same clip above it so I could compare what was happening with the burnt in timecode and that’s definitely what I got. The Hold clip was running at a full 100% (according to the BITC) but just with those rogue 2 frames after the freeze.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Stefan Buhrmester] “You can test it for yourself”
Sorry, yes you’re right – I just tested it with a movie of some timecode and what it does is to hold the freeze frame for an extra two frames once it comes out of the Hold. Bad! But once you know that’s what it does I suppose you can take account of it. It doesn’t get the speed wrong as you suggest which is at least a good thing!
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
Actually was experimenting with the Hold function earlier and haven’t found it buggy – I actually thought it was a really neat concept that saves a lot of keystrokes. It worked for me both with a single frame and with a range. Either go to the frame you want and press Shift/H which gives you a one hit result that you can then modify the duration of, or use the ranges selector to set the range of the hold and again Shift/H.
What were the issues you were finding?
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Simon Ubsdell] “make them into a storyline”
Oops, got that wrong sorry – I was convinced I’d read in the manual that you could apply filters to storylines (like you can to compound clips) but that’s clearly not the case and it’s daft to have suggested it. Apologies.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
The track tool was one of the really great things about FCP7 and I’m glad to see that Media Composer has now copied it – sad as you say that it’s gone missing from FCPX.
I’m not sure what you are trying specifically to achieve, but the way I might approach this if you don’t like the “slug”/gaps route is to use the trim function – this is really what the magnetic timeline is all about because the trimming behaviour is designed to keep everything in sync. Trim the head of tail of whichever shot it is you want to use to push the rest of your timeline back or forwards.
It’s quite ironic though that we are going to be using “slug” which is what we used to have to do when we were cutting on film (those of us old enough to remember!) and in the early days of Media Composer before the trimming got sophisticated enough!
But you will also notice that “gaps” are clearly fundamental to the way FCPX works – if you work like I do, your timeline very quickly gets littered with them. But they are clearly a design necessity given the magnetic storyline “keep everything in sync” model of working – again just like slug was in the film era.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Stephen Bakopanos] “The more you play with it, the more frustrated you get at certain things, but at the same time you notice the professional underpinnings and can start to see where Apple might be heading with this.”
Yup, I’d very much agree with this – having violent mood swings between being horrified at the apparent foolishness of many things and seriously impressed with the clear potential that exists in quite a few areas. There are definitely some “big ideas” in there waiting to be developed into something possibly really interesting but they really are just glimmers of potentiality at this point.
Will Apple now go the extra mile (or a thousand, because there’s a long, long way to go, however you cut it!) with this, or will they react negatively to the barrage of abuse (and damaging coverage even in the mainstream media) and back away from developing a product that’s only going to give them grief for years to come?
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com