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How would you deal with this – long clip with multiple takes
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Thanks, Andy. Good workaround. Still looking, though. Really want to be able to name the clips and see it in a logical order – ie 101_1A, 101_1B. If you look at the event lib, you see B and then 01. I think that’s confusing. And you have to twirl down all the clips to see all the keywords. Not that this is a bad thing, per se. Just that it could be confusing to someone new to FCPX – and I’m trying to come up with a way to make this system work for non-FCPX editors so that they can work effectively if they’ve recently come from another NLE.
On a sidenote, I really wanted to be able to use auditions. This method would work with auditions. but the names of the clips would always be the same when you placed it in the timeline. You could see the correct take and scene by opening up the timeline index, but again, too many steps, not a quick easy way to see scene and take number.
Michael Garber
5th Wall – a post production company -
Issue there is that I want the editor to be able to select the favorites from all the logged takes (with ranges pre-selected by the assistant).
There are limitations with favorites when using them as clips. When you add them to a timeline, they show the original clip name. I need it to show the scene and take number, 101_1A. And I am always concerned about someone accidentally hitting U (although I know it can be remapped).
Regarding the markers, they wouldn’t work here, because once placed in the timeline, the marker would most likely get cut out of the clip. Or, I’d end up having additional markers in my timeline that I wouldn’t want and then need to delete them later. I think markers usefulness in this situation would relegate it to the event browser.
Thanks, though. Always appreciate the advice. A lot of what is in this thread could help me or others out in some other situations.
Michael Garber
5th Wall – a post production company -
Another requirement is that I need to be able to get AAFs out. When I add markers to the clips in the event browser, it’s causing a problem with X2Pro when I export the AAF from an XML of the timeline. Bug report time.
Michael Garber
5th Wall – a post production company -
[Michael Garber] “There are limitations with favorites when using them as clips. When you add them to a timeline, they show the original clip name. I need it to show the scene and take number, 101_1A. And I am always concerned about someone accidentally hitting U (although I know it can be remapped). “
Maybe you should consider a more capable NLE 😉 Without being snarky, I think you are running into the design limitations of X. Submit it as feedback to Apple as it might be something they can integrate in later versions.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Michael Garber] “Issue there is that I want the editor to be able to select the favorites from all the logged takes (with ranges pre-selected by the assistant).”
There could be another way to tackle this. How are the clips being imported? The new import module lets you select ranges from within clips that it sees from camera cards or volumes (cloned cards). You could select the individual takes as individual ranges, which in turn *should* bring these in as separate clips. You could then label them separately.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I had a feeling that another NLE that might be necessary and have been preparing my work appropriately to cover my bases. I was just hoping there might be a way and was looking for confirmation on this workflow from you guys, first.
Regarding importing sections, that won’t work in this scenario because clips are prores from the Alexa. Import will only bring them in whole. Also, audio needed to be synced to production sound. So that would get complicated quick.
I almost got what I wanted with making compound clips. But there was that audio channel glitch which made it unusable.
Michael Garber
5th Wall – a post production company -
[Michael Garber] “Regarding importing sections, that won’t work in this scenario because clips are prores from the Alexa. Import will only bring them in whole. Also, audio needed to be synced to production sound. So that would get complicated quick.”
Double-system sound is a complicating factor. I have seen the import issue, too. It’s possible that if the cards were cloned as disc images, the import module might let you pull ranged selects. I haven’t tried it, so I’m just guessing at this point.
On this forum we’ve said many times that Favorites are basically subclips. It seems that in this discussion, we’ve hit a weakness in that analogy.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Range all the takes, don’t worry about name, keyword all as “saved takes” to save them (you could also favorite them for now)
Make a new compound (option-g, name)
Add all takes in chronological order to the compound (sort by tc, command-a, e)
Rename each clip by Scene/take in the timeline. Renamed clips in timelines will retain individual names. Use those clips as the master clips. Timeline index makes it hyper easy to find scene/take. You could search by text, or simply click on the clips once you find it in the list, copy and paste to other timeline. You could also use Roles/Subroles for this if you’d like and set the timeline to view Role names.
You could also duplicate clips, just like what happens to subclips in any other NLE. Range a clip, keyword, rename, dupe, range, keyword, rename, dupe, etc. Then sort by whatever range you’d like.
Jeremy
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Hey Jeremy,
The timeline index is so powerful. Because it’s so relatively new I always have to remind myself to use it.
I think that compound clips are most certainly the best way to go about it. However, I ran into that audio glitch with compound clips where the audio configuration gets messed up. The clips I was compounding are synchronized clips, so they contain a clip + connected audio. Stereo and dual mono. Channel configs get messed up.
Michael Garber
5th Wall – a post production company -
I wasn’t quite understanding the problem with the audio, but perhaps I misread it.
You have stereo embedded and dual mono double system and somewhere along the way you lose the stereo?
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