APPLE FINAL CUT PRO: Apple Final Cut Pro X FCPX Debates FCP Legacy FCP Tutorials

Re: So Inspirational & so lacking

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Jonathan Dortch
Re: So Inspirational & so lacking
on Jul 1, 2011 at 2:48:44 am

[Andrew Richards] "The drawback is in how it has evolved to be used. The tracked timeline was conceived as a visual metaphor for compositing. That's it. It had no other design intent. Video over other video was "on top" and if made translucent or cropped or whatever it revealed what was underneath. Audio tracks are analogous to tracks on a mixer and there is not a top-down hierarchy to them. Overlapping clips mix together on output or they can be "patched" to outputs."

I'm totally clear on all of that :) But how does the "Magnetic Timeline" convention change this? The visual mechanisms remain unchanged. There is still a top down hierarchy, only without track representation to provide a further order of organization/classification. Maybe I'm just missing something on this, but how does the Magnetic Timeline change anything about the visual representation of the edit besides adding "connections" with a more robust nesting capability, while removing tracks that we all used to help classify elements and easily manipulate them on a broad scale.

Without a "track," what is the process for reliably locking or preserving elements into their vertical hierarchy? I mean, as an simple example, how would one take a 4 sec bug graphic and reliably extend across the entire edit in X? Extend it in a compound clip and place as high as possible in the Magnetic Timeline connected to the first clip? Aren't height properties loose and have the potential fluctuate depending on how broadly you're manipulating vertical elements further down the edit?

In classic FCP I can throw that bug on top, duplicate to end of edit, lock it, and be on my merry way in about 5 seconds.

In that same vein, is there ANY mechanism for "locking" visual elements in FCPX?

[Andrew Richards] " But what if you needed to composite between to lower thirds?"

I'm not sure what you mean, but I think if I needed to composite between a shot and a lower third I would just raise the lower third to a higher track I usually put them pretty high up for this reason, and compress unused tracks if necessary. Same thing would happen here if you put a text layer above your storyline, correct? Would need to raise the text connection above the video?


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