![]() 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. “ First I want to see the wide, then the medium, then the tight.”īut traditional track-based timelines asked us to think in a way that wasn’t focused on story, but rather on a set of technical specifications.“This audio queue should happen when that boat comes around the corner.”.The primary question is one of story relationships. But when you’re editing a story, the primary decision isn’t when something needs to happen in timecode. In a track-based editing program you’re constantly asking yourself “where in time does this clip go?” At 30 seconds in? 45 seconds? And so on. And it seemed great-other than the occasional Avid editor asking “Does Final Cut have a real trim mode yet?” Limitations of the Old Method We’d target tracks after carefully considering where clips would go in our timeline. FCP7 allowed exports to many other platforms without plugins. Video tracks and audio tracks indicated visual priority. Clips go in bins and a source-record viewer previewed your bins and timelines. ![]() When Final Cut Pro’s magnetic timeline hit the scene six years ago, professional editors were already quite adept at wielding the tools of Avid, Premiere Pro, and Final Cut Pro 7.
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