![]() ![]() The magnetic timeline saves an enormous amount of time. It might strike you as odd that FCP X refers to “timelines” as “projects.” But that is an indicator that FCP X is putting the emphasis on story rather than timecode. Sync clips, effortlessly create multicam clips, and join raw audio and video together in the browser before it ever hits your main project. The timeline automatically “ripples”, and all of the relationships between story elements are preserved.įinal Cut Pro X does an amazing job of letting you bundle related things together. ![]() Secondary storylines are then connected to clips on the main storyline so that if something earlier is removed, all of the rest of the story relationships remain established. The primary storyline comprises clips that define the main story. It organizes the software around the concepts of story, instead of shaping the discipline around the constraints of software. There shouldn’t be dead space, unless it is intentional, and every B-roll clip, sound effect, or piece of background music relates to a primary story element.įinal Cut Pro X asks us to rethink how we look at the NLE but it frees the editor to focus on her main story and how everything relates to that. This is the starting place for FCP X’s magnetic timeline. A song, with beats that structure the edits.The scene in the script you are working with.What if the NLE was rethought to focus on story? After all, that’s what this is all about. Apple’s designers (who, on the whole, tend to know what they’re doing) took a hard look at this limitation, and determined that the limitation was artificial. “This audio cue needs to happen at 45 seconds and 12 frames in, which happens to visually correspond to what is going on with 5 tracks up the timeline and out of my view.” There weren’t great ways to establish flexible relationships with clips to the story and to each other-rather everything was constrained by placement and time. ![]()
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