Simon Ubsdell
6
COW Coins
Forum Replies Created
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[Robin S. Kurz] “Just a crazy-wacky guess here, but maybe… just maybe… it was because you called out a specific FCP X shortcut? I know… it’s a stretch…”
But that’s eaxctly what I didn’t do – I specifically referenced the shortcuts for Premiere and Media Composer in the same breath and without distinction.
In Media Composer it’s Cmd[ and Cmd].
In FCP X it’s Cmd- and Cmd=.
In Premiere it’s simply – and =.
Selective blindness there?
Simon Ubsdell
tokyo productions
hawaiki -
[Robin S. Kurz] “No one keyboard layout, no matter the app, is everything to everyone.”
What’s interesting about this thread is that it was only FCP X editors who thought it was a specific criticism of FCP X, rather that what it was: a generalised criticism of all NLEs.
Sometimes very specific details are interesting to examine more closely because they can potentially throw light on a bigger picture.
Simon Ubsdell
tokyo productions
hawaiki -
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[Robin S. Kurz] “It’s ⌘+ and ⌘- here. “
No, it really isn’t. It’s Cmd/- and Cmd/=.
It’s Cmd/plus and Cmd/minus if you’re using the extended keyboard.
On the non-extended keyboard, Cmd Plus (i.e. Cmd/Shift/=) zooms the filmstrip not the timeline itself. Just as Cmd/Underscore (i.e. Cmd/Shift/-) zooms out from the filmstrips.
I’m talking about timeline zooming, not filmstrip zooming.
Simon Ubsdell
tokyo productions
hawaiki -
Check you Andrew Kramer’s most recent tutorial on making a rain splattered window:
https://www.videocopilot.net/tutorials/realistic_rain_drop_fx/
If you want your surface to look wet, rather than just shiny, then this would be the way to go.
Simon Ubsdell
tokyo productions
hawaiki -
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I think we’re looking at the fact that EuCon is not ideal for this, at least in Premiere.
I’ve tried mapping the jog wheel to Shift+J for left and Shift+L for right, and that sort of works, but it still only gives you one speed and doesn’t respond quickly enough to changes in the jog wheel direction. It’s marginally more scrub like than the left/right arrow option, but it’s still fairly useless.
If you come up with a solution, please do post it here.
Thanks.
Simon Ubsdell
tokyo productions
hawaiki -
[Walter Soyka] “Where, roughly, do you draw the lines for the other apps?”
With the proviso that this is my opinion based on my editing and business needs, which are not necessarily going to be the same as anyone else’s, and only celebrating the positives and ignoring the negatives …
Media Composer: for collaboration.
There is still no better solution for a team of editors working on the same project at the same time.
FCP X: for the fun.
For the sheer, freeform, creative exuberance of it, there is nothing like working in the magnetic timeline.
Premiere: for the Swiss Army Knife factor.
Premiere takes up where FCP 7 left off in offering the most adaptable set of workflow options. No one thing stands out but I would list: flexible and powerful relinking, comprehensive interchange options that work right out of the box, workspace customisation, advanced audio mixing capabilities, and of course the seamless interaction with Ps, Ai and Ae.
Resolve: for the finished look
For some projects, the cutting needs to go hand in hand with the final look and for this nothing comes close to Resolve, as I have discussed before. A capable NLE that is also the world’s leading grading solution is quite an act to beat, but when you factor in Fusion Connect, it’s in a class of its own.
Steenbeck: for the magic
OK, so this doesn’t belong here, but I mention it to make a more general point. To anyone who can still remember those days, there was unquestionably something indefinably special about the process of cutting on a flatbed (or a Moviola). Was it the tactile pleasure of the physical interaction with the medium? The intrinsic slowness of the process that made you think harder about what you were doing? The magic of looking at a beautiful projected image rather than just a bunch of dead pixels? The performative aspect of every cut? The sheer physical labour of it that made you feel more like an honest artisan than a pretentious “artist”? The satisfaction of working with a magnificent piece of mechanical engineering costing more than a luxury car? I think ultimately the appeal was that it was a holistic experience, more than the sum of its parts, a holistic experience that made you feel connected, even if only by a slender thread, to a tradition of film-making stretching back to Griffith and Eisenstein.
By which I mean that speed and efficiency and modernity are not necessarily the only values it pays to think about.
Simon Ubsdell
tokyo productions
hawaiki -
OK, so I’ve just tried this again, deleting my set-up and starting from scratch in Premiere 2017.
It all works exactly as the guy suggests it will. You need to turn on audio scrubbing, as I mentioned.
Obviously in his set-up he’s just mapping the left and right arrows to the Jog Wheel so you’re not getting smooth scrubbing, but I can confirm that it works.
His explanation is not terribly helpful since he rushes over the bits that you really need to get straight … but it does work.
Simon Ubsdell
tokyo productions
hawaiki -
[Tony West] “You have to have that “patch panel” in Pr That’s the “cruft” I don’t need.”
Call me crazy, but sometimes FCP X is just perfect for what I need to do.
And sometimes it’s Premiere.
And sometimes it’s Media Composer.
And sometimes it’s Resolve.
And so on.
I guess I need therapy.
Simon Ubsdell
tokyo productions
hawaiki
