Post Production Supervisor at Kin Community
I wouldn't say it is more keyboard based per say as you can edit in X entirely without ever touching a mouse if you so desire it's just one single move to move a clip as opposed to 3 or 4 moves to do this in Premiere. Good trick in Premiere though, that tip could come in handy down the road.
There's also one other reason Premiere will never have the magnetic timeline (although Rush has some sort of hybrid of this with tracks as well) is that the magnetic timeline is under patent by Apple so technically it is a proprietary technology they developed.
While that may not be the best example of the power of the magnetic timeline over traditional track based NLEs, it still takes more clicks to move the clips in Premiere than in X. Once you wrap your head around X, it is very fast to edit with. I think Thomas Grove Carter shows very quickly how fast and powerful this is as opposed to other NLEs, you can do this on the fly with the producer sitting behind you while it is all playing back in real time.
Watched the video finally and wow, really exciting new codec. Lots of compression options as well as you can master to it which is a first to my knowledge.
What I meant by Pro Res being open was that it was available on every system and could easily be opened if you had QuickTime. This is no longer the case for PC users but during the FCP studio days, pro res was the most widely used codec for offline editing and is still fairly predominant today. BM clearly wants their new raw format on every NLE and camera on the market so kudos to them for being so generous.
I still think Pro Res Raw will be an open format eventually (I guess they had an exclusive deal with certain manufacturers). The other thinh I'm curious about with this new format, is it also a series of stills like Cinema DNG? What I loved about PR Raw was that it was a self contained .mov file and contrary to what this article states - you can really recover blown out highlights in that format and change white balance as well. The trick with PR Raw is setting up your libraries in rec 2020. You can export in rec 709 but the library needs to be 2020 originally to get all the benefits of PR Raw. Excited to test out this new BM Raw as soon as it is available.
I guess I've never seen it that way. They took a giant risk in releasing FCPX as FCP7 was not only doing great but it was becoming the industry standard in many ways. They took this risk because they had an opportunity to innovate and that's exactly what they did. Whether you hate X or not, you can't deny that it is not an innovative NLE; if it wasn't than why is everyone trying to copy it (smart collections, built in synchronization, proxy editing, etc). Every feature I just mentioned was first introduced in X and now every NLE has these features. Two features that no one can copy though is the magnetic timeline and roles, those are under patent by Apple. I cut on X, Premiere and Resolve and X is by far the most fun to cut with, it's also the fastest NLE I've ever worked with as well.