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Editing scenario
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well, lets put up that bat signal… 😉
https://vimeo.com/user1590967/videos
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
You’re not wrong there. I have about half an hour grace. I am working from home tomorrow though – thank the gods.
Still – I can’t actually figure out another way to re-iterate the point so..
https://vimeo.com/user1590967/videos
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Jeremy Garchow] “But during those sections, it looks Ike the voice is determining the length, no? Not so much the music there.
In the music only sections, you say its probably more about the music, but also about the length of the shot, so it’s a give and tak”Correct for these sections.
[Jeremy Garchow] “I’d put the music in the primary, and adjust all shots around it, if I need to extend a gap in to the next section”
The problem with that approach is the minute you remove or overwrite the music cue with another one, you’ve also lost all the connected clips. You could work around this with a compound clip (maybe) or Replace, but since the music is edited, you’d have to do that for each section. Also, since these are edited, by putting this on the Primary, changing the music edit points messes up all Connected Clip hooked to that section of the music. You don’t necessarily want the Connected Clips to “float” around with the edited music.
I feel that Jim’s template would be abetter solution, but thanks.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Jim Giberti] “but a simple “Add Unconnected Secondary” command and a Make Current Secondary Target” button would do nicely.”
YES!
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Alex Hawkins] “Hey Premiere Pro isn’t too bad with these you know.”
The reality is that I’ll likely end up using both, plus Avid, too.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Steve Connor] “In down and dirty editing what can’t you do in FCPX that is vital for “Professional” editing that you can do in other NLE’s”
Unless I’m misinformed you can’t readily deal with production audio split over multiple channels and multiple sources.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “Unless I’m misinformed you can’t readily deal with production audio split over multiple channels and multiple sources.”
You can, but it’s not pretty. One of the main 4 bullet points Apple has been touting in the coming update.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Jeremy Garchow] “I see what you’re saying, but if you need the music to stay at 1:30, why not just put it in the primary @ 1:30?
“I’m speaking to the FCP7 model that so many editors are used to, where various audio elements go below a Video Track 1 and stay there unless you want to move them.
Why would I want to put a simple music track that supports my story on the Primary? It’s just another audio effect in that regard. In so many instances film isn’t being cut to the music track but the music cues begin and end at certain fixed points relative to the story (or for the full bed in the instance of TV spots) and you want it t stay there for all the reasons you want anything to stay in place.
And then there are the times when you want things to travel together which X does very well.
But it doesn’t do both, without unnecessary manipulation. But it could and, obviously in the opinion of many editors, should. -
[Oliver Peters] “[Jim Giberti] “but a simple “Add Unconnected Secondary” command and a Make Current Secondary Target” button would do nicely.”
YES!
“And with that, I’m off to the tequila.
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[Oliver Peters] “The problem with that approach is the minute you remove or overwrite the music cue with another one, you’ve also lost all the connected clips. “
You move it out of the primary and disable it (or delete it if it’s gone).
Move new cue into the primary, all connected clips in place.
But whatever works for you.
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