Tom Wolsky
Forum Replies Created
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If I understand your premise you want to slide the gap and the connected video and audio. Select the gap and nudge it, comma or period, Shift-comma or period, or type in a plus or miss value.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press -
No more than the FCP7 timeline is lift only.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press -
“In my experience, I have almost never seen novice users become power users without training.”
Absolutely. I don’t disagree at all.
“I would suggest that many feature film editors are also not power users of NLEs.”
Indeed. So often I have taught advanced classes where on the first day, what I call “remedial FCP” I am interrupted by someone who says, “Wait, what did you just do,” and it’s the simplest shortcut, some basic thing they never learned when teaching themselves.
Perhaps that’s why Mr. Murch’s timeline looks so strangely layered to Jeremy.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press -
Those users will be the power users. The novices to video production are remarkably adapt at this application and take to its workflow and quickly become what I would consider power users. They have no understanding of the implications of track based applications, only seeing this as stories with connections. The paradigm has an aesthetic logic that’s easy to follow.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press -
About language I could not agree more. Apple started abusing terminology in the very first version of FCP and has been doing it ever since, and continues with that tradition in X.
Not sure if there is anything wrong with changing the tools. Changing the tools might change the way you work, just as moving from a gang sync to a Moviola to a Steenbeck changed how you edited film, so moving from traditional NLEs to FCP will change the way you edit digitally. And as so often happens changing the tools will likely change what they produce. New cameras and lens change the way people shoot and the type of shots people take. Changing the tools in editing will probably have a similar effect.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press -
A single monitor. Most film on Moviola and Steenbeck was cut on a single video display. Dual monitors are really a development of video tape production. Holding up two pieces of film for match framing an edit is comparable to the two up display in FCP. In film audio was connected, either as part of the film or rolled together with the film. They behaved as part of the film or as connected clips very similar to the way audio is connected to specific clips in FCP. There is much in compound clips that parallel the way sections of film were assembled and grouped together in reels that were handled and mixed as units. I’m sure there are other resemblances but those come to mind. Together with layered behavior those are significant similarities. The whole idea of tracks with free-floating content is a creation of digital editing and has no comparable basis in film. Much of the NLE timeline and editing behavior and paradigm draws more on videotape antecedents than film.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press -
Actually the metaphor of video timelines does not mirror film. I worked in film. Oddly FCPX with its magnetic timeline and spacing mirrors film editing more closely than the video based paradigm used in legacy versions.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press -
And you’re focused on YOUR tools. You can’t get past them to reach the story.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press -
As we’ve seen before in this thread you have a predilection for assumptions. Your assumptions are based on that legacy applications mirror film editing, whereas in fact they do not. They mirror video editing. Your basis of reference is video, FCP’s is actually film.
Nobody said anything like your opening sentence, and to somehow infer it from Bill’s message is simply crap. Complete and utter bullshit. Copy that 5X5?
No, we’re not talking about the craft the of editing. We’re talking about tools. This tools works. It may not work for Murch, but it works for a lot of other people. Murch needs to actually try it. I don’t believe he has. But even if he does it’s not going to work for him because of the way he works. It’s going to work for a lot of other people, and it does.
Everything else in your message is crap. The same shit we heard when FCP1 came out.
“they have forcefully bifurcated the very operation of editing itself, creating a totally different nomenclature for casual purpose which then, in effect, locks their new adherents from the ladder of skills attainment to all that old boring highest definition of the craft, a place FCPX is blatantly uninterested in travelling to.”
Did you actually read that after you wrote it, or were you too far gone? Yes, that’s exactly what FCP1.0 wanted to do and exactly what FCP 10.0 wants to do. The same people who said FCP1 was a piece of shit ended up as its defenders, now spewing shit on FCPX. They are tools. If you can use them to tell your story they are no more or less effective than a guillotine splicer. Complexity does not make it better, which BTW is something Adobe needs to learn.
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Actually the metaphor of video timelines does not mirror film. I worked in film. Oddly FCPX with its magnetic timeline and spacing mirrors film editing more closely than the video based paradigm used in legacy versions.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press