Need to get an EDL from another editor? Need to send an OMF to your audio guy for final mixing? But all those things can be added later. If you depend on those things — and a lot of people do — then Final Cut Pro X is simply not for you. Sounds great in principle, right? What a time-saver! You do television commercials for a living, working for some facility or other. You do jobs for both on a regular basis.
How do you think it would go over if the American Airlines agency guys came in for their supervised session and saw a bunch of Delta bins on your edit system? Think again. Post houses do work for competitors all the time. It happens all the time. If that is the case, this article series is for you. In this first series are the top symptoms related to FCP X data corruption, including an overall note about how to prevent getting into trouble in the first place.
First of all, take a deep breath. Many of us have been there. You might have a real problem, or it might be that your expectations are a little off. Prescription : On one level FCP X is so easy your kids can easily edit with it, but i f you are a seasoned editor, or even a new one, and your livelihood depends on FCP X, invest the time to thoroughly learn the app.
I keep the iBooks version on my iPhone and try to read a chapter at a sitting. Second, watch or read some high-quality training. Ripple Training is excellent. As does Larry Jordan. You can find the user guide and links to training here. Prescription : If you are seeing new puzzling behavior in FCP X, resetting your preferences is the first thing to try. Especially if the software has crashed on you, because a crash can cause the preference file to become corrupt, and a corrupted preferences file can cause FCP X to crash.
Digital Rebellion Preference Manager is an excellent free tool to save and restore fresh preferences or you can use FCP X build in function. Resetting preferences is quite safe. However, you will lose a few bits of customization, the most unfortunate being custom naming presents. The few items in preferences will be reset: general, editing, and importing; as well as Browser column settings. But Your Share Destinations, Effect presets as well as audio effect presets will all remain intact.
FCP X performance is amazing, and in most cases sharing exporting an unrendered timeline is several times faster than the time it takes to render and then share. Prescription : If you can open a Library, try moving your Events to a freshly created Library. Oftentimes this can resolve the issue. Moving out individual Events out of the Library may make the Library able to open again, and point instead to a problem Event, or even timeline.
The backups are organized by folders by Library name with timestamped Libraries inside the folders. Just double click the backup Library of your choice and FCP X will walk you through the restoration process.
Prescription : There are two main ways to resolve this. First, copy the contents of your Event to a freshly created Event within the same Library, or secondarily, try a fresh Library. First to the same Library, and if that fails, to a new Library. Prescription : Finding that one piece of the bad media can be time-consuming, but you gotta do it. If a share or render fails midway, FCP X may give you a frame number where the error occurred.
If hiding your media does resolve your issue, try hiding just portions until you can narrow down the culprit. Because FCP X blows it away. You can disagree with my conclusion, but if you're asking THAT question, it means you jumped straight to the comments without reading the article or watching the videos.
If you want to stick with Premiere, go ahead. Michael, well done!! I just finished a documentary with 7. I started with FCPX at launch and I noticed right away how much it freed me up to be creative and not worry about moving clips, audio, efx, graphics etc. Not to mention, auditioning different takes and camera angles of the same scene. Nice article, I am yet to watch the video. One question: does anyone understand WHY Final Cut forces the creation of secondary storyline every time I need to add a transition to a clip?
It may be a fade on a super or a dissolve between two pieces of b-roll. Any explanation? The secondary storyline was the one thing that stopped me getting into FCPX aside from my iMac being stolen and the cost of replacement. That was quite a few years back, maybe it's better now. But if you cut docs or brand stories, you want to build a sound bed and then a visual story over the top of it.
I found I had to make a secondary storyline every time I even wanted to trim it. Couldn't work with that. I did find the selects and organisation and magnetic timeline pretty impressive and time saving. That's exactly what I don't like. Every time you want to move your super or a couple b-roll clips that may have a transition, you have to remove the transition, lift it from storyline, move it - and then place the transition back.
SOOOO many steps! Also, the other thing that is a real pain is "match frame". Out of memory I think it's Shift-F. It doesn't work very well it's hard to see immediately where the clip is, sometimes it doesn't even bring the matched clip and either way, when you want to go to it, the playhead is all over the map and it's hard to pin point to the exact frame. Oh my Last, the new MacPro we editors knew when they brough in the garbage can that the form is wrong.
How many years did it take them to bring us back what we already had??? I know, it's better now and so it should LOL, but essentially it's the 'same' machine as the one we used to have. Only does that if the clip is floating over the primary timeline. If it's in the timeline, you can add transitions all you want.
If it's b-roll or supers it's almost always going to be floating above the main magnetic timeline. Not sure about explanation, per se, but it's certainly not something I have too much of a problem with. Thank you for this writeup. It's very frustrating and has been an uphill battle trying to explain the benefits of FCP X. So much of the industry is AVID heavy.
Granted there are features I'd like to have such as better workgroup options and audio options. Sometimes I wonder if FCP X can weather the storm and will continue on considering DaVinci Resolve is free and nipping at it's heels taking features and borrowing some operations.
It pains me to use tracks. Though I feel like one has to know AVID or Premiere Pro even setting well-paying jobs aside if it's against one's best interests in workflow efficiency. Building plugins with Motion is an additional bonus. The one thing I keep hearing is that FCP X is designed for the solo editor that has to do everything. I will say this. Within about ten minutes he was floored at how much I could accomplish with such little effort. He conceded that he had no idea it was that fluid and versatile.
Hello, Michael. I am teaching college students in South Korea. There was a lot of help after reading your article. So, I want to ask if I can translate your article and post it on my blog. Of course the source and your information will remain accurate. Best regard. This is easily one of the most valuable, accurate and honest assessments I've watched to date. Unlike many others I actually embraced X from the getgo and endured the pain of it having been released too early and unfinished.
But now I'm glad. Very glad, for all the reasons you've so elegantly demonstrated. I did what you just suggested to do with Final Cut — I gave it a serious, open-minded few weeks of dedicated learning, tut-watching, tips and tricks reading and real-world application. It's good. It's very good. The color, obviously, is untouchable. Fairlight is a real asset, negating the need to roundtrip out to ProTools etc.
Fusion is all there, but means unlearning After Effects , which is a step too far for me for now. My conclusion, after genuinely giving it the benefit of the doubt: FCPX still wins overall, hands down, for speed, magnetic elegance, keywording, logging, and biggest of all never overwriting anything.
It's also much faster than Resolve. On the same machine, Resolve slows to a crawl when the second 4k video track gets filled, and I have to start optimizing and proxying like crazy. Let's say you have a sequence, with several layers of video and audio, with color treatment, FX, noise reduction, stabilisation etc. The computer renders the sequence to cache in the background. Now everything plays back in real time. Then you go change something — say, a color effect on a continuous piece of video.
Like all NLEs do. If you put the entire sequence in a compound clip, the render cache file originally created is "protected" by the nesting process, and that compound clip can be bladed and trimmed and moved and transformed, without ever having to be re-rendered. It's a HUGE thing "in the trenches", to be able say "this segment is done, let's compound it and protect it from having to be re-rendered".
And I truly love how well they work together. But for the rest? Skip to main content. No Film School. Credit: Pond5. By Michael Yanovich. August 19, I'll tell ya. I hate arguments from authority.
0コメント