Attended a well-known editor's lecture in Beijing, Baiyang Yu.

For those who don't know who Baiyang is, here is the link to an introduction of he and his director Tsui Hark, written by Apple's Pro website. www.apple.com/final-cut-pro/in-action/detective-dee/

The interesting story is, he is one of the very few people who adopts FCPX for feature films in China, or perhaps in the world. There is no doubt that it is very challenging to stick to FCPX for the film production but things always have solutions, not in a perfect way at the first beginning but he and his crew are at least trying. And after 3 film's with FCPX, they seem to have a workable workflow now, even for the high budget films with 2000+ vfx shots.

Baiyang is also an ACT pro, who had the first chance to get trained and get hands on FCPX. We shall see more possibilities in the post production of films. Attached photos are showing what a film-length sequence/project looks like in FCPX, and how it looks like on the shooting site.

An often overlooked article, but very significant. Thanks for posting.

The underneath purple bar is added manually for nothing but to create a border to distinguish voice and audio fx, said by Baiyang. Apart from this, everything else in the timeline is tidy and clean. I think it's smart.