[Tony West]

[James Ewart] “I do wonder how much faster though than fine tuning every one in the first instance. But you have to go back over them all anyway and a fair few must need tweaking. I have to go back over them all too but maybe have to adjust fewer of the transitions.”

+1 on this James

I have to listen to each cut anyway. That transition should be added with the quickness, but I’m not sure how much I would really use it.

When I’m cutting dialog and the person starts into another story and I want to cut it off. Sometimes its tight because they almost blend their words together and sometimes there is a large gap there. Seems like for me more times than not it’s tight and I like that manual tweeting.

The bigger issue for me in X is that popping sound on the cut. Most times I can get it with the handles but it’s annoying.

[James Ewart] ” It allows me to do stuff I would have to send to an audio person in the past “

Do you use RX 4 James? Having the power of that program right there in X is great. That is the best sound tool I have ever used.

[Tony West]

[Peter J. DeCrescenzo] “I’ve put in a call to an editor friend who uses FCPX to see if either she or someone she knows can give me a brief, in-person tutorial so I can ask questions. “

This might be your best move Peter.

Recently a friend and co-worker of mine needed to put together a wedding for a close family member.

He was worked in TV as a shooter for years and his work is excellent.

He had never really cut professionally and is not really interested in it but wanted to do his family member this favor. The fact that he was a clean slate at editing might have helped him, I’m not sure.

He came over to my house and I gave him a one on one for a couple of hours. He took notes and asked questions then went home to cut.

He used 2 cameras and his footage looked great because, well, he’s a great shooter.

He called me with a few questions but after that he was pretty much up and running. What he really loved was the multicam which he had never used in his life. he didn’t call with any questions about that, which was interesting.

He didn’t have to fix much when it came to color or sound because of his experience shooting. He just wanted his finished product to look as professional as the way he shot it.

I looked at a little bit of it and it turned out nice.

[Tony West]

[Jeff Markgraf] “Uh oh. Must not mention experience or awards, lest the “get off my lawn!” set start yelling in righteous (ALL CAPS) indignation.
“

hahaha

It’s funny, for me, so much of broadcast these days is turn it around in a short period of time.

Often shoot and to air same day. That’s when “experience” comes in. To me it’s much more challenging working under the gun and getting it right than when you have all the time in the world.

Doesn’t mean that you are working on something cheap, or that nobody will watch it. Just the nature of working in television sometimes.

It would be awesome to send everything out for audio sweetening and grading. The reality is that’s often not an option. But having RX 4 sitting in that program is an option. And a good one : )

[Tony West]

[Steve Connor] “Apologies, should have added the caveat “for experienced Editors”
“

Should have added your definition of experienced editors.

20 years, 25? Emmy’s ?

[Tony West]

[Steve Connor] “I absolutely do NOT buy in to the idea that tracks in NLEs “get in the way” of storytelling or the editing process in general, it’s just a different way of working.”

Wouldn’t this depend on the person Steve?

To some people, anything they don’t “need” to tell the story could be considered in “their” way.

Tracks or whatever it is.

I could see somebody else saying, they are not in “my” way because I like them.

You can tell a story effectively without tracks. If you couldn’t then X or programs like it wouldn’t work.

Many people like to organize with tracks. If that’s something a person doesn’t care about I could see them saying “get that out of my way”

To me, that was much of the idea behind this simplistic looking UI in the first place. They were trying to put the things they thought that most people that would use the program would use most upfront, and the other things in the back.

There are things in your house that you don’t use everyday, like maybe the good plates. They don’t need to be up in the front so that you are reaching over them every day. You move them to the back. That’s how most people organize their homes.

I’m not using it right now, get it out of “my” way.

To me, this entire program is designed around that mindset.

Many people in life are trying to get from point A to B in the fewest amount of steps. Any extra steps on the journey are intolerable hahahahaha

[Tony West]

[Daniel Frome] “Can someone explain how this is different than grouping a series of elements on the Premiere Pro timeline? If I group, then moving something will keep them together in much the same way, no?”

In X, I’m not selecting anything. Not even the main clip. I’m just grabbing it. I don’t have to select the b-roll or the sound from the b-roll or the music or font or any of that.

By grabbing one clip everything with that clip is going to go “automatically”

Are you saying that’ how Prp works? How would it know which tracks you want moved if you didn’t tell it at some point.

I also like that X is anticipating where I might want the group move to end up by putting up that blue line at each section.

It’s saying “are you trying to put that here?”

Me “yes”

Then I let it drop and I don’t even have to be that close to it.

Once again it’s that duel argument.

The X timeline is too different, but when that difference is explained as an advantage to some, then the argument is that’s the same as the NLE

X can’t be different and exactly the same at the same time. It’s one or the other : )

[Tony West]

[John Rofrano] “They are telling a story where events happen in a particular order and these events have corresponding things that all happen together (e.g., a video clip with a video overlay, and a sound effect with music accompaniment) and when you move the video to alter the story, the fact that the sound fx and music and overlays and whatever else is associated with it moves with it is pure genius.”

I agree John, I love working this way.

I usually don’t try to convince others they should switch to this way though. They know what they want.

If they want to work with tracks have at it.

When folks ask me about it at work I tell them what I like about it. Most times they are interested in hearing more and want to try it. The folks I am dealing with have never seen X or tried it so they are an open book to me.

I do agree with you in that they wanted to break from tradition, that they said, why does the audio and video need to be separate from each other by default at this point in time. You recorded them together keep them together until you need them apart.

[Tony West]

These are nice Brett, thanks for putting them up.

Have a great Christmas

[Tony West]

[Michael Gissing] ” I would put it as FCP7 70%”

Wow, I’m surprised at that. I have not seen anybody working on Legend in quite a while in my town.

I used to think of the midwest as behind the coast. I guess not.

A brand new studio just got built here that somebody sunk a lot of cash into. They have Prp in there.

[Tony West]

[Walter Soyka] “I’d be curious to understand how evidence of market penetration (or evidence to the contrary) would actually impact anyone’s thinking here.
“

It wouldn’t effect mine that much. I was using X when it first came out and people were really talking bad about it.

My experience from St. Louis, or these days I should say that city that’s attached to Ferguson.

I have worked this market as a freelancer for over 20 years from commercial work to national news to sports.
Production houses, stations I have pretty much worked almost every place in this town at one point.

I’m also on the executive board of our union which has a contract with all the stations and most houses along with 90 percent of the freelancers. it’s a great town to work.

The breakdown

FOX SPORTS Midwest staff use AVID in-house but freelances on the trucks for games us X
So split one to one.

NBC Affiliate Edius
CBS producers were using X and legacy but that station just got bought by a company that owns other stations that have AVID so last I heard they were going to bring AVID in. I don’t if producers will still use X

Local PBS does a great deal of production and live shows. They actually use all 3 AVID Prp and X
the commercial editors love X so it’s a 3 way split

Post houses that I have been in recently had more Prp than anything.

Since everybody in the market knew me as an early adapter to X many folks who want to know about it approach me. Within the last month I have had 2 people say to me they were gonna start using X
One wedding and a one man band.

That’s my market.