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Is anybody here actually cutting multi track audio with X?
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[David Lawrence] “It appears that each angle gets its own independent “track”. This makes sense given what you would be doing with the tool. Anyone who’s actually used it — please let me know if this is correct or not.”
Each angle gets an Angle. That Angle corresponds to an angle number in the Angle Viewer.
In FCP7, you couldn’t have holes in an angle without a bunch of workaround. This allows multiple takes with starts and stops on each angle.
Also, although they don’t show up and it doesn’t look like it, the angle is fixed in time similar to having a gap. You must choose the position tool to move/slide a clip, the arrow tool won’t work.
if you have tc on your clips, the clips get locked to tc, and the multi clip starts with the tc of the first clip and all clips follow that tc.
It works pretty well for video. Multichannel audio sucks as you can’t break it apart or do anything with it, it must be added separately, then broken apart, which is a pain.
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[David Lawrence] “It appears that each angle gets its own independent “track”. This makes sense given what you would be doing with the tool. Anyone who’s actually used it — please let me know if this is correct or not.”
I’ve looked at the longer demos, and the image your looking at it is, I believe, the angle tool construct, where you can revise the layout of the multi-clip.
When actually using the multi-clip in the timeline it’s all on one “track” or “rail” or whatever the f*** they are calling it, no matter which angle you choose.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “‘ve looked at the longer demos, and the image your looking at it is, I believe, the angle tool construct, where you can revise the layout of the multi-clip. “
Yes, that’s all I was referring to, the tool that lets you adjust layout and sync, not how you cut on the timeline afterwards.
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David Lawrence
art~media~design~research
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[Jeremy Garchow] “Each angle gets an Angle. That Angle corresponds to an angle number in the Angle Viewer.”
[Jeremy Garchow] “Also, although they don’t show up and it doesn’t look like it, the angle is fixed in time similar to having a gap. You must choose the position tool to move/slide a clip, the arrow tool won’t work.”
Yes. That’s my point. They’re independently fixed in time. Even though they get automatically synched via timecode or sound, you have the option of adjusting any angle manually without affecting the others.
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
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[David Lawrence] “Yes. That’s my point. They’re independently fixed in time. Even though they get automatically synched via timecode or sound, you have the option of adjusting any angle manually without affecting the others.”
I see what you’re saying. Yes. That is true. But it is even more limited than the FCPX Project in terms of audio.
The way that the Angles are setup would not be a good way to edit. Although, you can select what is called the “monitoring” angle, and that angle becomes a target. So any other clip that you add, will get added to that angle (all the X editing convert ions apply in terms of insert/overwrite/etc in the primary. I know I have said it before, but this target system should get picked up for secondary clips/storylines so we can edit right in to them or on them.
It is not the magnetic timeline that bothers you, it is the connections!
What is needed is a modifier so that if you adjust a primary track (trim/roll/whatever), the secondary clips does not move along with it. The work round now is to move the primary clip out of the primary and adjust, then move it back in. I have sent this to feedback before. The more people that send it, the more likely it will get enabled.
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[Jeremy Garchow] “You can slide a whole timeline by an exact number of frames/seconds/whatever simply by trimming the gap, instead of selecting everything to the right and left. “
It’s the same in FCP7
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[Michael Aranyshev] “It’s the same in FCP7”
How so?
Gaps in FCP7 and FCPX are completely different. You can’t select a gap and change it’s duration, or trim a gap in 7.
You do not have to select everything to the right or left of a point in X to move the whole timeline. You simply adjust what you need to the primary.
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[Jeremy Garchow] “How so?”
With Ripple Tool. RR, V, U type in the number of frames
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[Michael Aranyshev] “With Ripple Tool. RR, V, U type in the number of frames”
Look at that, you learn something new everyday.
Apologies for being a bit wrong.
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[David Lawrence] ” Any asset in the window is independently mapped directly to time via its position in space. Multitrack is a nature extension of this paradigm.”
I guess it’s how you define that relationship. Everything in FCPX relates to that primary storyline of time. Anything in the primary is fixed to time if you want it to be. Anything connected to that will also be fixed to that point in the clip. It changes the relationship of clips. If I know something has to hit at a certain time in the sequence, then it goes in the primary at that time, and I edit around it accordingly, just like you do in FCP7, but there’s a few different rules.
[David Lawrence] “Four completely separate audio tracks — drums, bass, guitar, vocals. Which one goes in the Primary?”
The one you want to determine time, and the rest is connected. Let’s say it’s drums. You put the drums in the primary, and everything else stays in relation to the drum, if you want to change the relationship, you move it, just like in FCP7. Or if the relationship between those elements is fixed, you have to compound them all, then you can move them very easily in time together.
What goes in the primary is usually about what drives the time, and yes you have to mindful of it.
If you have a certain section that has a certain length of music, then music goes in the primary, and the rest is connected.
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