What's bizzare is the fact that this US agency basically claims to own the frequency and therefore can sell it. How did the Canadian citizens benefit from this sale? Not at all. It's like selling air. We are selling air above 2000m, so stop breathing it you are in that altitude. Step by step they are stealing what's not theirs to begin with and selling to the highest bidder. Shame.
Nobody needs a 10-hr documentary about anyone. It's not a documentary, it's a PR stunt.
If it's b-roll or supers it's almost always going to be floating above the main magnetic timeline.
That's exactly what I don't like. Every time you want to move your super or a couple b-roll clips that may have a transition, you have to remove the transition, lift it from storyline, move it - and then place the transition back. SOOOO many steps!
Also, the other thing that is a real pain is "match frame". Out of memory I think it's Shift-F. It doesn't work very well it's hard to see immediately where the clip is, sometimes it doesn't even bring the matched clip and either way, when you want to go to it, the playhead is all over the map and it's hard to pin point to the exact frame. Oh my... so easily fixable these two things but because Apple "thinks" that they know best what and how people should be working, they rarely listen.
Last, the new MacPro ---- we editors knew when they brough in the garbage can that the form is wrong. How many years did it take them to bring us back what we already had??? (I know, it's better now and so it should... LOL, but essentially it's the 'same' machine as the one we used to have).
Nice article, I am yet to watch the video. I was an Avid editor for about 10 years and now on FCPX for about 2.5 years. One question: does anyone understand WHY Final Cut forces the creation of secondary storyline every time I need to add a transition to a clip? It may be a fade on a super or a dissolve between two pieces of b-roll. If there is one beef I have with FCPX (and there are a couple more), than this one is it. Any explanation?