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Re: Why FCPX?

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andy patterson
Re: Why FCPX?
on Oct 4, 2017 at 5:47:30 pm

[Charlie Austin] "[andy patterson] "Even then on export you have to mouse click after mouse click after mouse click to get the correct export of audio elements. You have to hope you don't forget about turning on and off sub roles as well."

No, you do not. You do it once for each version and save a preset. Then, for all subsequent versions of different spots, it's 3 clicks for each export, you need pay no attention to anything but the second click where you select the preset, that's the beauty of it. ☺ You always need to QC the exports, but that's true in any system."


I stated you have to setup the template but once that is done I can see how it would be useful. Some people need advanced audio export options other needs advanced closed captioning options.




[Charlie Austin] "[andy patterson] "I don't have to mouse click after mouse click after mouse click to mute and solo tracks"

Again, you do not need to do any of that. You *do* need to do that in a track/mixer NLE for digital file output. It's not just soloing, and this workflow is not for one cut. It's for situations where you have 5 or 6 different spots, with 5 or 6 different versions for each. Individual versions will have different track configurations, and may require both Stereo and Mono comps of the same material in the same file. In advertising, this is the norm."



I understand it is for people who need to use the template over and over again. I get that. I can see the benefits of that aspect. All I am saying is I seen a lot of mouse clicking and drop down menus in the demo from 4:10-7:10. I also want to add that we can have the Spanish text in video track/channel 4 the French in track/channel 5 and the German text in channel/track 5. Same with the audio channel/tracks on 4, 5 and 6. I don't see why in Premiere Pro we would need a separate project/timeline/sequence for each version as stated in the video. I don't see it as being much different form enabling, disabling or soloing and muting tracks. I admit maybe I am missing something. Having said that I did a video about the tiling system in Premiere Pro and I demonstrated that I can easily enable or disable individual track matte elements and title layers. It is not like I had to create a clean version, a track matte version, a title version and also a version with track mattes and titles together. Or a version with with all the individual track matte elements. I did it all on the same timeline/sequence. I don't have to assign roles to all the track mattes elements, adjustment layers or titles. Having said that I can see how stereo and mono options could be useful as well as the templates. I don't doubt Avid and Premiere Pro could do what you want if there was a request for it. Did you ever make such a request from Avid or Adobe? You said it was for a TV spot. How does FCPX handle closed captioning for the different version? Just curious. I have never had to use closed captions but I know a lot of people do.



[Charlie Austin] "[andy patterson] "I can also EQ the entire audio track and clean it up in seconds. You can do it clip by clip as well. "

Me too. ☺

This discussion is way off topic, but as I said, I've been doing this for a very long time, starting with Otari ProDisc and 24 track tape, slaved to video layed back to DigiBeta or D2. Then Avid Audiovision, DAT tapes, ADAT, Media Composer, FCP 7, Premiere, and FCP X. For the kind of versioning that needs to be done for movie marketing, FCP X currently cannot be beat. MC has some output presets now, but they're not remotely as flexible or easy to use as FCP X and Roles."



I have had to work with 3/4", Beta, HDV, Digital Beta and a few others. I also had to cut and splice with an old Otari reel to reel but I don't see how discusing technology from the past is relevant. Do you?

I am not saying the roles feature does not have merit or that it is not your best option. What I am asking is it everyone's best option?


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