Wish List for FCPX 1.0.4 (or whatever comes after 1.0.3)

Or, as someone has already said, when we step inside the compound clips....we remain at the same position in the original project/sequence - keeping all audio that is also at that time in the timeline for our reference.

Like the playhead....it should stay relevant no matter where you are....in the entire project/sequence or inside a compound clip that makes up a portion of that project/sequence timeline...

It seems easy in my head....

All good points, and an interesting conversation for sure. Needless to say, there could be quite a few enhancements to the way compounds work and retain information. For the most part, I have learned to make them work for me, or work around the issues one way or another....not ideal always.

I have found my best solution is to only convert to a CC once I am pretty darn sure I won't have to make any modifications, or at least any significant ones. I live with the timeline clutter a bit longer than I otherwise would, but if you get everything in order before you create it, it solves a lot of the issues discussed here. I know that's not always possible.

This is true I hope everybody is jumping over tot the feedback page.
In my mind the compound clip is nothing else then a nest in Final Cut Pro 7.

I have found my best solution is to only convert to a CC once I am pretty darn sure I won't have to make any modifications, or at least any significant ones. I live with the timeline clutter a bit longer than I otherwise would

I work with a similar thought to this, only I don't convert to a compound clip at all unless what I'm doing won't work otherwise. The way I get round the clutter is by keeping everything in the primary story line if possible. I will attach cut aways as connected clips or try stuff out etc. but I'll overwrite to the storyline as early as possible.

It's the way I always worked with track based NLE's, it's still not perfect for me in FCPX as it just gives a different problem, which is in relation to the trim tools necessary to work efficiently in this way.

I would like to return to the question - why every action whether it is a transition or effect necessarily requires the calculation, for which I fell in love 7.03, it is a fact that many of the transitions, and effects of the calculation is not required, it will simply fly out why none of the video editor does not robleme wrote about this, basically just a positive.

10.03 Interface I like to work easier, but as soon as you need to do simple things, darken the video at the end of the episode, or make light color correction, just a red stripe, and with it the terrible brakes, further work is reduced to the expectation of the end of the calculation, okay if it only had me alone, and if the material is needed urgently television news, there are not accustomed to wait as long as I am??

dgwvideo wrote: I have found my best solution is to only convert to a CC once I am pretty darn sure I won't have to make any modifications, or at least any significant ones. I live with the timeline clutter a bit longer than I otherwise would, but if you get everything in order before you create it, it solves a lot of the issues discussed here. I know that's not always possible.

I know we've strayed off-topic, but I need to see if my silver bullet isn't a silver bullet after all. I recently discovered I could use compound clips in my long-form documentary work flow which goes like this: find my selects from interviews and make them compound clips in the browser - label them. Do the same with my b-roll. When I want to add them to my timeline, I simply bring them down when & where I want them. This way I get to see my labelled selected clips in the browser and don't have to bother with favorites which lose their labels in the thumbnail mode. I'm not worried about the audio carrying over from the timeline (such as soundtracks) as long as I can hear the audio within the compound clips themselves. How can this method comeback to haunt me? Is it too good to be true?

No, I think you're fine there. That seems to be a decent workflow. I use CC's all the time. There just seem to be certain quirks occasionally with complex compound clips (compounds nested within compounds, multiple layers, and the like). Most of the time, I use them like you do with no issues.

Just want I wanted to hear!

parkerhqj wrote:

dgwvideo wrote: I have found my best solution is to only convert to a CC once I am pretty darn sure I won't have to make any modifications, or at least any significant ones. I live with the timeline clutter a bit longer than I otherwise would, but if you get everything in order before you create it, it solves a lot of the issues discussed here. I know that's not always possible.

I know we've strayed off-topic, but I need to see if my silver bullet isn't a silver bullet after all. I recently discovered I could use compound clips in my long-form documentary work flow which goes like this: find my selects from interviews and make them compound clips in the browser - label them. Do the same with my b-roll. When I want to add them to my timeline, I simply bring them down when & where I want them. This way I get to see my labelled selected clips in the browser and don't have to bother with favorites which lose their labels in the thumbnail mode. I'm not worried about the audio carrying over from the timeline (such as soundtracks) as long as I can hear the audio within the compound clips themselves. How can this method comeback to haunt me? Is it too good to be true?

Yeah, but if you need to perform a trim in your comp clip, it's impossible to hear your main project's audio without breaking it apart. I know ts similar to a nested clip, but it would be nice to have the choice.

I use the comp method a lot too. Then when I'm happy with the shots selected I just break it apart which leaves me with the original media.

brain fart, never mind...