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Re: Did anyone lose their job after FCPX mistake ?

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Bill Davis
Re: Did anyone lose their job after FCPX mistake ?
on Aug 3, 2012 at 9:00:56 am

[James Ewart] "hello can you explain to me how you edit in tracks an forget the magnetic timeline. I would also like to do this but have not figured a workflow that does it
"


Essentially, if your brain is conditioned to how tracks used to operate - and you can't re-condition it, you're going to struggle.

The key principals are that instead of having a track layout system that works ONE way - exclusively in horizontal relationships between discrete clips (which is what tracks essentially were)- you have to start by seeing your work as stacks of clips in vertical relationships that you willfully establish as a primary editing mode.

It moving from thinking exclusively about stringing shots into strings defined bylength - and starting to think about buiding your program in "sections" by HEIGHT.

It's a scene approach, rather than a program approach, even tho we all understand that the program is just a collection of scenes. The important thing is to get the mindset that you have a new way to connect the assets in your segments that you never had before. And once you build those segments, you have a new tool, magnetism - whiich is extremely useful for rapid assembly of scenes.

If you can star to see yourjob as the editor as one of building these stacked relationships as a primary work method, then you discover that magnetism helps you greatly, since you can move your stacks (clip relationships) around at will and, unlike in the discrete track system, you'll never lose your clip positions relative to each other inside your stacks because not only are they are "magnetically linked" in that stack relationship - but the program keeps track of their relationship to other clips and stacks and automatically prevents distructive "clip collisions" which were extremely common in Legacy until we got conditioned to guarding against them.

The problem a lot of people have with X is moving on from the idea that all editing is necessarily working with discrete horizontal relationships in time. And re-imagining a system where the relative position between assets is more valued by the program than JUST their "track position" and timing.

Esssentially, this new X construct follows the X ideal of do work ONCE and leverage it over and over.

Once you build a clip arrangement , the program protects it and seeks to KEEP it intact.

Track based editing didn't do that at all.

In legacy, we had to constantly guard against inadvertent destructive actions like putting a long music cut on an audio track and failing to notice that we'd left a SFX down the timeline. If you did, the new import could easily KILL the SFX leaving no trace of it's prior existence. So it was easy to literally destroy elements in other parts of your timeline , precisely because the program couldn't know any better.

Now, X keeps track of clip relationships and preserves them, even to the point of moving them to different "tracks" as necessary to avoid these kinds of destructive clip collisions.

When you get used to it it's much easier since it's nearly impossible to make destructive mistakes.

If you want to move an element or a stack and NOT have it magnetically link to whatever asset is before or after it in the horizontal relationship, you just have to tap the "P" key to work in "position" mode. And you can move the asset around like you could in Legacy. So you can work in Position or Magnetic as you like. Magnetic is simply the default mode, because in the stack oriented approach, it makes a whole lot more sense than pure position.

It's honestly different thinking on a pretty fundamental level, and until you have enough experience to expect it, it's annoying. After you do, it becomes as natural and expected as the old system.

That's some of the basics in a nutshell. Learning the program on a reasonably thorough level typically takes the best part of a year of reasonably constant operation.

Hope that helps.

"Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions."-Justice O'Connor


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