FCPX – partying with your Flaky Friend

Tart

UPDATE: Compound Clips, specifically splitting Compound Clips, and worst of all, splitting a compounded clip that’s been compounded, increases project complexity exponentially. Thus, your FCPX project quickly becomes a nasty, sticky, crumbly mess.

Which is a shame, because Compound Clips are the way we glue audio and video together, how we manage complexity with a magnetic timeline, and butt disparate sections together to use transitions. Kind of vital, really.

Watch these excellent demonstration videos from T. Payton who hangs out at fcp.co:

These refer to version 10.0.1, and at time of writing, were at 10.0.3, but I can assure you that we STILL have this problem (I don’t think it’s a bug, I think it’s the way FCPX does Compound Clips). We return you to your original programming…

Okay, report from the trenches: Final Cut Pro 10? Love it – with a long rider in the contract.

I’m a short-form editor – most of my gigs are 90 seconds to 10 minutes (record is 10 seconds and I’m proud of it). Turn up ‘Somewhere in Europe’, shoot interviews, General Views, B-Roll, get something good together either that night, or very soon afterwards, publish to the web, or to the big screen, or push out to mobiles and ipads…

This is where FCPX excels. As an editorial ‘current affairs’ segment editor, it’s truly a delight. I bet you slightly overshot? Got a 45 minute take on an interview that needs to be 45 seconds? Range based favourites are awesome, and skimming lets you find needles in a haystack. Need to edit with the content specialist at your side? The magnetic timeline is an absolute joy, and don’t get me started about auditioning.

It’s true: in cutting down interviews, in throwing together segments, and especially when arguing the toss over telling a given story, I’m at least twice as fast and so much more comfortable throwing ideas around inside FCPX.

But my new Editing Friend is a ‘Flaky Friend’.

She really should be the life and soul of the party, but somehow there’s a passive aggressive diva streak in her.

There are three things she doesn’t do, and it’s infuriating:

  • She doesn’t recognise through-edits – they can’t be removed, they are, to her, like cesarian scars, tribal tattoos (or so she claims), cuts of honour. We tell her we’re cutting soup at this stage, but no. ‘Cuts are forever’ she says, like the perfect NLE she thinks she is.
  • She doesn’t paste attributes selectively – it’s only all or nothing. ‘We must be egalitarian’ she croons. What is good for one is good for all, apparently. You can’t copy a perfect clip and only apply colour correction to the pasted clip – you must paste EVERYTHING, destroying your sound mix, needing extensive rework to your audio mix, and heaven help you if you change your mind.
  • She flatly refuses to accept that there is already a way we all do common things, and wants to do it her own kooky way. Making J and L cuts into a Tea Ceremony, blind assumption that a visual transition needs an audio transition, even if we’ve already done the groundwork on the audio… girl, the people who think you’re being cute by insisting this are rapidly diminishing to the point you can count them on your thumbs, and we do include you in that list.

So okay, she’s a good gal at heart. Meaning the best for you. But she needs to bail out and quit every so often, especially if you’re used to tabbing between email, browser, Photoshop, Motion et al. She’ll get all claustrophobic, and you’ll be waiting 20-40 seconds with the spinning beachball of death between application switches. It’s all a bit too much like hard work. ‘I can’t cope’, she sighs – and spins a beachball like she smokes a cigarette. We stand around, shuffling our feet as she determinedly smokes her tab down to the butt. ‘Right!’ she shouts at last. ‘Let’s get going!’

And yes, it’s great when things are going right.

But put her under pressure, with a couple of dozen projects at hand, some background rendering to do, it all gets very ‘I’m going to bed with a bottle of bolly’. I’m getting this an awful lot now, and I really resent being kept hanging around whilst she changes a 5 word caption in a compound clip that takes 5 FRICKIN’ MINUTES to change, I resent every minute of waiting for projects to open and close, and whilst it’s lovely to see her skip daintily through all that fun new footage, when it comes down to the hard work, she’s so not up to it…

I am twice as fast at editing in FCPX, but I am a quarter of the speed when doing the ‘maid of all work’ cleaning up and changes. It means that, actually, I am working twice as hard in X as I was in 7, just mopping up after this flakey friend who has a habit of throwing up in your bathtub and doing that shit-eating grin as they raid your fridge of RAM and CPU cycles.

Well, FCPX dear, my flaky friend, you’re… FIRED.

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