[Steve Connor]

So if you could actually USE FCPX in your workflow, would we get less of these cool effects?

If so I hope they never add OMF export and the other things you need 🙂

Thanks for another useful tool Simon

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Steve Connor]

[Philip Davies] “After a recent visit to the Apple store to enquire why my new Mac is struggling with FCPX more than it should, they suggested it was down to footage being held on a USB 2.0 external drive…

With USB 3.0 not available on the new Macs and Thunderbolt drives costing a fortune, the only option seems to be firewire. Has anyone compared FCPX performance using footage on USB 2.0 vs Firewire drives?

I’m skeptical because I’ve noticed sluggishness when all footage is on my computer’s internal drive.
“

They are absolutely right, USB 2.0 is completely unsuitable for editing, firewire is the bare minimum you should be using. Also using your internal drive will also slow things down a lot as well.

What format are you editing?

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Steve Connor]

[Andreas Kiel] “Personally I think FCPX was released at a bad point of time and too much focused on a single user.
Maybe it would be interesting to see how many of the “lovers” do work in collaborative environments when creating their projects.”

Well I’m a “lover” and I’ve been collaborating with a colour grader using DaVinci and I’ve also just sent out some audio tracks, via roles export, to a sound editor. Early days for this sort of thing and I understand that it absolutely doesn’t fit into most standard collaborative workflows, but it’s getting there slowly.

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Steve Connor]

If only you could keyframe the CC as well

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Steve Connor]

It’s worth occasionally reading the manual again just to pick up stuff like that

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Steve Connor]

[Simon Ubsdell] “If you are trying to do a cut on action (or any of of a number of similar editing strategies where matching is critical), you need to be able to see both images at the same time at the same size.

Both parts of that are equally important. Yes in FCPX you can have or or the other, but the crucial missing thing is that you can’t have both.”

Not traditionally no, but when if you take it down to the timeline you can get both shots side by side when you trim, I’m using this a lot at the moment for some drama scenes I’m editing.

I agree about gang though, I would be surprised if it wasn’t added going forward

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Steve Connor]

[Oliver Peters] “Or if they had released it as an “editing assistant” application? Sort of a good “pre-editor” or maybe even just a “rough cut editor”?”

Why would they have done that? for a lot of us it’s a full featured editor, better in most ways than FC7. I get that there’s stuff missing for the heavy lifters out there but not everyone needs those things.

I get what you are saying though, it might have taken the edge off if to had a different name

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Steve Connor]

[Mark Dobson] “Not going to be fun to edit.”

They never are!

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Steve Connor]

[Simon Ubsdell] “I absolutely hate all that metadata, keyword nonsense that we are meant to be getting so excited about, thought I wouldn’t dare voice that aloud around here … I just did? Oh shucks. It is of no value to me and acts only as a hindrance.”

I don’t hate it, but to be honest I’m not using it as much as I imagined I would, it’s just so damn fast to get through your source footage that I don’t feel I need to spend the time tagging. I haven’t even used it on the feature I’m cutting at the moment

[Simon Ubsdell] “The magnetic timeline however is the ultimate creative scratchpad because of the speed with which you can throw stuff around and discover the shape you want for your material. Again, it’s a reaction to the clunkiness of the Media Composer model that I long ago abandoned the source/record model of editing, preferring even in Legacy to mould stuff on the timeline, which now to me feels much more natural and intuitive.

I like slapping stuff into the timeline and moving it around and trimming it and seeing where it will go and shuffling it around, and I love using cut and paste. I don’t like prepping my shots in the source monitor unless I have to – it just feels too clunky and methodical. And I’m sure I don’t need to tell you that the best editing gets done when you get down and dirty with the material and see what it throws up at you.

And it’s this model of editing that FCPX, even more than Legacy, lends itself to very well. The magnetic timeline is just made for this kind of working – it’s great just be be able to throw something in there without bothering about where you’re patching it and what effect it might have on the rest of the timeline. It’s especially brilliant to be able to edit music in secondary storylines – this is a huge plus for me, really huge, and music editing is a very big part of my kind of work.”

That precisely describes how I feel about working in FCPX, I think the assumption from many is that the magnetic timeline actually stops you from working like this, but as you soon find out it doesn’t.

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Steve Connor]

[Aindreas Gallagher] “fear not bud, I am barely trying. I’m still mostly strapping on a colostomy bag and refusing to move in any direction.

It is hard to see avid though, for the likes of lowly me – avid is just nuts – they just heralded the coming of tabs.
“

I see you’re back on form Aindreas, sometimes it’s a joy to read your posts! I imagine you’re hoping that PPro will gain more traction in your area than Avid?

I still think you’ll eventually “get” FCPX, a lightbulb will flicker on to illuminate the darkness

Steve Connor
“FCPX Agitator”
Adrenalin Television