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Creative Cloud
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Well I would change the clip names of this stuff in my Event Browser to “Drums” “FX” ‘guitar” etc. I would try and use Smart Collections where possible also to keep them all nicely bundled together.
So I would immediately see what they were in my timeline. We can differentiate between “audio and video” and just “audio” in the timeline at a glance can we not?
And of course I would also use roles to make sure FCPX “knew” what everything was.
Sync markers we are missing. If you detach audio as opposed to expand that is potentially a bit of a faff because you have to match frame (sorry reveal in event browser ) to sort it out but I have not found that to be a problem such is the beauty of expand audio
Am I being obtuse?
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[Herb Sevush] “How do you manage to do that in X?”
i know it sounds weird, but you just do. Sync dialogue is usually married to a video clip. non sync dialogue is attached as a connected clip, and clip skimming allows you to discern what is what very easily. There is no way to slip things back in to sync, so you can match frame back to the original and replace (and very quick process and much less arduous than other NLEs due to no patching, you hit Shift-f, then option-r and you’re done) or you can line up the waveforms and “see” the sync. Sure, it’s not as mature as other NLEs in this regard, but it’s not hard to do in FCPX. You can also, as mentioned earlier, simply “turn on” the channel that is in sync if it attached to a video clip. If it is way out of sync, it might jsut be easier to add another instance of the clip to it’s in sync. It is very easy to do in FCPX, which dovetails with what we have been talking about this morning.
You can also change the timeline to view clip names as Roles. So if you have taken the time and setup Roles, this can come in very handy if you have many audio elements. Being able to assign clip Roles at the import window would really be a big help here.
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To expand on James’ & Jeremy’s comment…
[Herb Sevush] “how do you recognize which clip is sync dialogue,”
That one is easy… it rides with the video and can easily be seen
[Herb Sevush] “which is dialogue out of sync”
Also easy, as you can stick cheated/non sync dialog into a CC with the video and it shows up visually just like sync dialogUnless you disconnect all your sync audio for some reason, nothing ever goes out of sync unless you intentionally move it.
[Herb Sevush] “which is sync audio efx and which is non sync audio efx, “
Same as sync dia…
[Herb Sevush] “which is music,”
Select the Role, it’s highlighted. Though as said before, auto-pinning it to the bottom would be great.
[Herb Sevush] “if you have your music in layers, which is your drums as opposed to your guitar?”
You can highlight the subroles, but it’s better to just use secondary storyline for that sort of thing. If they’re connected to the head of the timeline, they function just like tracks. Very easy to organize a timeline in a “classic” way if you want, Illustrations below… 🙂
Organized basic timeline:
Cheated dialog in a CC in the timeline:
What’s in the cheat:
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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
[Jeremy Garchow] ” but is track patching really the only way to go about adding audio to timeline? Does it really HAVE to be that way? As much as tracks help, don’t they also dictate a very specific and certain way of working? “
But patching isn’t the only way. You can drag audio to any track you want. You can completely bypass patching if you want to.
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[Chris Harlan] “But patching isn’t the only way. You can drag audio to any track you want. You can completely bypass patching if you want to.”
If the timeline is empty, yes, but if there is audio already in the timeline, then you can’t throw in a clip as easily as you can in FCPX.
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[Herb Sevush] “[Charlie Austin] “I do wish there was a way to automatically pin mx to the bottom and dia to the top or something,”
Yes, that would change my whole outlook on the trackless idea.
“Mine too.
[Herb Sevush] “[Charlie Austin] “I should probably qualify this by saying that, other than keeping cut music together at the bottom and VO/DIA near the top, (do-able in X as well with a tiny workaround) I don’t have a very organized timeline in any NLE when I’m cutting.”
I think this has a lot to do with your acceptance of trackless, since you didn’t use tracks as an organizing tool before, your not missing anything now while gaining everything that X has to offer. In your case X makes a lot of sense.
“I edited that way for years, but I’ve found over the last six or so, that I really benefit from an organized audio structure. It makes for great navigation and gives me a lot more feedback about what is going on. This lack of visual organization is what I most dislike about X.
[Herb Sevush] “[Charlie Austin] “I rarely, if ever, have less than 16-24 audio “tracks” in my timeline. often more. So that probably colors my preference…”
I would think so. I’m generally cutting with 6 to 8 tracks, but on those occasions when I’m using much more I have a specific layout that dedicates one monitor (I have dual 23″ screens) totally to the timeline. 16 tracks are no problem that way, I haven’t tried it with 24.
“I generally have 12 to 20 tracks, and break them down into wider bands, so that SFX, for instance, is a region about six tracks thick. One of the great new things about audio in Pr is that I can assign that whole region to a sub and treat the sub as if it were a single track.
[Herb Sevush] “As I said to Jeremy, I do find these conversations about specific workflows very interesting and enlightening.”
Agreed. Its the main reason I keep coming back. That, and that I need the eggs.
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[Chris Harlan] “One of the great new things about audio in Pr is that I can assign that whole region to a sub and treat the sub as if it were a single track.”
And the color coding. Oooohhhh the color coding.
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[Jeremy Garchow] “[Chris Harlan] “But patching isn’t the only way. You can drag audio to any track you want. You can completely bypass patching if you want to.”
If the timeline is empty, yes, but if there is audio already in the timeline, then you can’t throw in a clip as easily as you can in FCPX.
“I can drag a piece of audio from either the source monitor or its bin straight to track 7 without batting an eye. I can do that in Pr and in MC. Why do you think I can’t? Yes, I can arm or lock tracks in a way that keeps that from happening, but I don’t have to. I know this because I do this every day. Why do you think differently?
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I don’t think this is a question of can or can’t, i’s what you need to do to patch it (or not).
It is also video and audio, not just an audio clip.
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[Chris Harlan] “I edited that way for years, but I’ve found over the last six or so, that I really benefit from an organized audio structure. It makes for great navigation and gives me a lot more feedback about what is going on. This lack of visual organization is what I most dislike about X.”
Seems we’re going in opposite directions. lol And while i agree that X does need the option to better visually organize stuff, the more I use X, the less I miss it.
[Chris Harlan] “One of the great new things about audio in Pr is that I can assign that whole region to a sub and treat the sub as if it were a single track.”
Mix groups/subbing/bussing would be great, I agree. Again though, if X gets Logic style Track Stacks or some sort of new invisible Compound Clip thingy, it would be really really versatile. I know they’re working on it, I have no clue as to what they’ll come up with or when it will appear…
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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~
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