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FCP X destroys my audio
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[Steve Connor] “I haven’t seen it at all since the recent update.”
FWIW – it’s also forgetting renders when I re-open the app. Not all, just a couple and always the same ones.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I have had this happen: it would play fine in the timeline, and then the export resulted in a crazy bit of distorted noise at the trouble spot.
I tracked it down to audio that had a weird sample rate, something like 48.0576. This usually happens if the audio is attached to some video with a different or odd framerate, and you use something like Cinema Tools to reconform the framerate.
What you should do is find where the distortion sound is happening and take a good look at all the audio in that section and make sure it’s all 48kHz. Re-export it from Compressor for example. Basically something standard. FCPX currently doesn’t play very nice with odd sample rates for whatever reason.
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[Oliver Peters] “FWIW – it’s also forgetting renders when I re-open the app. Not all, just a couple and always the same ones.
“I had that behaviour stop with the recent update too! I suppose you’ve trashed prefs and reinstalled?
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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It hasn’t been re-installed, prefs have been recently trashed.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Howard Duy Vu] “What you should do is find where the distortion sound is happening and take a good look at all the audio in that section and make sure it’s all 48kHz. Re-export it from Compressor for example. Basically something standard. FCPX currently doesn’t play very nice with odd sample rates for whatever reason”
Hmm… Does seem like a possible culprit, but all the audio is absolutely correct regarding sample rates. OTOH, it may be attached to slo-mo’ed video clips that were rate-corrected in CT. But the bottom-line is that you are saying it is unreliable with mixed/odd sample rates. Thus my general concern about its reliability with audio at all.
This project will go through a ProTools conform/edit/mix from original sources, so the X temp mix is only for client review.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Audio is being monitored via built-in Mac output to a mixer. Sounds fine there. Also sounds fine when captured via Soundflower. This is not a little crackle. It’s a second or more of full-on digital distortion in the right channel.”
I have only had the opposite problem. Audio distortion out of capture card, fine in exports.
To make tc burns in fcpx, put related clips in a synced multiclip and change the start timecode to the start tc of the multiclip.
This works well for interviews, not so well for a bunch of short clips. It will at least save the XML hassle.
Or add tc window burns with Compressor after ingest. This works great for a bunch of disparate short clips.
I am trying to leave FCS3 behind as much as I can.
Jeremy
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[Jeremy Garchow] “I have only had the opposite problem. Audio distortion out of capture card, fine in exports.”
Yes. That’s common and is often a bad card or bad drivers. I’ve replaced several Konas for that. AJA has a GREAT approach to their warranties. However, that’s usually crackling like LP static. This noise is 1000X worse.
[Jeremy Garchow] “To make tc burns in fcpx, put related clips in a synced multiclip and change the start timecode to the start tc of the multiclip. “
I had 3 burns – 1 for each cam plus 1 for sequence.
[Jeremy Garchow] “I am trying to leave FCS3 behind as much as I can”
LOL. Not me. In fact, I’m still using Color quite a bit.
Actually, I’ll probably do the next job of any complexity with Media Composer.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “LOL. Not me. In fact, I’m still using Color quite a bit.
Actually, I’ll probably do the next job of any complexity with Media Composer.”
Do what you want, but FCPX is more than capable of handling complex projects. This audio bug I agree should be fixed, but it’s actually the only major audio bug I’ve come across and it’s fairly easy to work around. Actually, FCP7 was very glitchy when dealing with audio with different sample rates. Also, there’s really no reason to use Color since Davinci Resolve is out there and is way faster and more stable.
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[Howard Duy Vu] “but FCPX is more than capable of handling complex projects.”
Sure. I’ve been cutting with it since 10.0, including large commercial campaigns and even a feature film. It’s quite capable, but nearly everyone of these jobs required a certain level of workarounds. I often get the feeling of 3 steps forward, 2 steps back.
[Howard Duy Vu] “This audio bug I agree should be fixed, but it’s actually the only major audio bug I’ve come across and it’s fairly easy to work around. “
You’ve been lucky. In addition, it loses render links. Not as bad as before, but still there. XML round trips don’t support compound clips. XML roundtrip with Resolve and RED files come back to X at the wrong size. In the past, there were numerous render corruption issues (fixed by 10.0.9). Occasionally it still overruns the undo stack, which means it didn’t save anything after the stack stopped. The project I’m on crashes about twice a day. Consistent RAM leaks, requiring app relaunching to speed up the app.
[Howard Duy Vu] ” Also, there’s really no reason to use Color since Davinci Resolve is out there and is way faster and more stable”
I’m quite familiar with Resolve and it’s a very powerful grading tool. But, I still feel Color is faster when you are doing a feature film grade that doesn’t need an exotic level of grading. Especially considering that most of these projects (that come to me) were originally edited in FCP 7. I find the results in Resolve to be a bit too harsh at times. I prefer the look of Color or Baselight.
[Howard Duy Vu] “Actually, FCP7 was very glitchy when dealing with audio with different sample rates.”
I don’t disagree. I never mixed sample rates in FCP 7 if I could avoid it. But I also never got the sort of digital junk I have run across in X’s audio. Chalk it up to AV Foundations, I guess.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Yes. That’s common and is often a bad card or bad drivers. I’ve replaced several Konas for that. AJA has a GREAT approach to their warranties. However, that’s usually crackling like LP static. This noise is 1000X worse.
“Mmm. No. This is FCPX specific, and it’s not the FCP7 crackle, this is blast you out of the seat, WTF was that? type of noise. It’s just like you are describing, but it’s in real time over hardware, not in the export.
[Oliver Peters] “I had 3 burns – 1 for each cam plus 1 for sequence.”
Same technique, then.
[Oliver Peters] “[Jeremy Garchow] “I am trying to leave FCS3 behind as much as I can”
LOL. Not me. In fact, I’m still using Color quite a bit.
Actually, I’ll probably do the next job of any complexity with Media Composer.”
So on the one hand, you aren’t leaving FCS3, but on the other hand, you are leaving FCS3!
Just kidding, I get it. Color isn’t doing it for me anymore. I was hoping for Speedgrade, but that’s still a moving target for now. It has to be Resolve for the moment.
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