I could be confused about this but I believe that the trim tool originally gave us clip timecode as we skimmed (as well as the blade tool) and that went away in 10.0.4 (or 10.0.3) and it's been brought back in 10.0.5.

Hooray! I'm glad to have it back.

Now I just wish they would get around to some of those big feature changes we're waiting for.
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Not sure you can, but you can easily select it and control-d to type in a new duration.

You can also select multiple gaps in the timeline index and change them all. You can also copy a gap clip of any length, and control-v to paste it as many times as you want.
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I think it's probably just playing tricks on you, but it's actually in the same place.

Open your timeline index, select the clip that is shifting and note the start time of the clip. Zoom in or out, and I'll bet it stays the same.
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Does everything need to render?

Is it possible that you have an issue where your timeline setting doesn't match your footage?

What are the details on your footage? Which codec are you using? Are you mixing footage in the timeline? What is the timeline setting? Does it match the majority of your footage?

How responsive is the timeline for editing if you don't render?

There is often no need to render while you edit. I will not render anything except effects that cause the machine to stutter, like fancy transition effects, but not the basic color correcting. Then when I'm done, I export the timeline.
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For a start:

• Paste attributes
• Send to motion
• Batch export
• Better project/event management (no timeline views of projects)
• Audio mixer (tied with gestures on keypad to adjust 3-4 tracks at a time with existing hardware)
• Better audio editing within timeline (expand all enabled channels in project timeline for audio mixing, not just it's own timeline)
• Better audio mixing with multicam clips.
• Lane assignments/hiarchy (certain roles migrate above others) and/or clip colors by role
• Event filtering based on used/unused footage in timeline.
• Undo bug fix.
• Favorites folder for general effects, and effects with settings.
• Get rid of the hum and noise analysis. I use the auto loudness, but I think FCP is analyzing the hum and noise also, so the backround analysis is quite long, especially considering that the noise removal is practically useless.
• Fix the jumpy timeline!
• Fix the processor draw that is using my cores even when no background processes are running!
• Better range selection and editing to non-primary storylines

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I've tried attaching text files to clips as a way of marking them.

I like using the V key to disable the visibility so I don't worry about them rendering or slowing the playhead down. I can then see them just fine in the timeline.

Markers may work as well, and you can see them in the timeline index.
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I remember reading about his method. He selects representative frames from each scene and puts it on his wall. I think this would be more like legacy FCP, where you can select your own thumbnail for each clip in your bin.

You cannot select a thumbnail in FCX.

However, I also remember his description of running a reel of film through a flatbed, and appreciating the visual feedback he got from the lights and colors he saw skimming through the footage.

I think he'd appreciate the visual feedback you get from the filmstrip. It's sort of like holding a strip of film up to a light table, except we can compress and expand the time to see as much or as little detail as we'd like.

I'm learning to love the filmstrip view, especially since I can see footage from multiple clips all laid out for me.
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If you're trying to create a direct scale/position transform with no easing in or out, FCPX is deficient there.

However I figured out a workaround. It's quie simple, but you'd probably never think of it.

Jump to your first keyframe. Go forward one frame with the right arrow. Now with the tool in the viewer, add a keyframe, then hit the keyframe button again to delete that keyframe. You should see the position change when you add the keyframe. It shouldn't, but it does.

Do this 1-3 times until adding the keyframe no longer makes the position move.

Now jump to the next keyframe and go back one frame and repeat the add/delete keyframes. Now go one frame beyond your keyframe and do it again.

Do this for every keyframe, adding/deleting keyframes one frame on either side.

Now hit play, and you'll see your animation move directly between keyframes with no easing in or out.


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That was a lot of fun Simon. Did you find that editing in FCPX took more time while you were getting used to it? Or have you gotten past the "thinking about what your fingers are doing" stage, and had more fun with it?
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