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Multigroup in FCPX like you can in Avid?
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[Jeremy Garchow] “OP asks if you can sync everything together in FCPX and create a sync map, and then use that as one big clip.
Yes, you could do it and the setup would be fairly easy, but you should know there are a few limitations.”
That was my initial thought based on the Avid video as well, but looking at Marcus’ post, it seems the “reality” would be somewhat more complicated. Before you even went into the “main” timeline you could easily prep the multicam/full group bits, but when all the groups split off (assuming multiple cameras following each group) , you’d have another set of maybe 3 or 4 Multi clips you’d need as sources. Would secondaries work here? Or can you only switch a multi clip in the primary? It seems as though the syncing and prepping all the pieces would be fairly straight forward, but the assembly would need to be done differently than the avid/7 workflow. This isn’t surprising, in fact I suspect it would necessarily be a totally different workflow. I’m just wondering what it would be…
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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
Well I do a lot of work in reality TV.and occasionally use multicolor sequences, but I’m not a huge fan of them as you spend too much time juggling tracks.
I was asked to do a pilot for a new reality show which featured 3 cameras and 10 microphones all in sync.
When I heard this I asked if it could be cut in FCP X as it would be much much faster. And it was. I got the job done in about half the time it would have taken me in FCP 7.The power comes from the way FCP X handles Camera Angles. It means that it will put all of one camera angle on one track in the multiclip. Something neither FCP 7 or Avid can do.
The powerful feature is the way you can expand any clip and isolate its audio by using clip skimming.
So the sound recordist who was using an 8 track recorder also used one of the cameras to capture the other two mics. In multicast it’s super easy to designate which audio tracks are monitored. You can also name each track just for the multiclip. So I named each track with the person’s name. Made everything super simple!Oh and by the way there was NO JAM sync. Cameramen FORGOT. FCP X did all the sync just using its own methods.
The client was super impressed.
R E D N A I L – M E D I A
web: http://www.rednail.com.au
email: rednail@me.com -
[Jeremy Garchow] “In the Avid video, it looks like the method used was a long way around to get what FCPX will do with a multi clip in the Angle Editor
In this sense, FCPX would allow this, and you’d simply scrub the multi-clip (or add it to your Project) with the tod tc.
You wouldn’t necessarily need to create a sequence first, nor a bunch of subclips that end up getting deleted anyway.”
Yeah, that method in the video is a different one to the way we work. we don’t create all those sublcips or use aux/tc. Its a red herring as far as I’m concerned.
The way we get the group clips that we then cut over on to ‘lines’ above is to match-frame the vision for the cameras which creates a mark-in with a TC, and do the same for the audio. We then sort the bin view by mark-in TC so the clips we want are at the bottom of the bin. We select them and group them by In-point. This creates our group clip which we cut in to its ‘line’ above. Rinse and repeat several hundred times.
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[Charlie Austin] “you’d have another set of maybe 3 or 4 Multi clips you’d need as sources. Would secondaries work here? Or can you only switch a multi clip in the primary?”
You can switch a multiclip anywhere.
When you need a subset of the sync map, simply dupe the multiclip in the Event, and delete the Angles you don’t need.
Or, use only the angles you do need.
Jeremy
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[Marcus Samuel-Gaskin] “Rinse and repeat several hundred times.”
The favorite part of everyone’s day. 😉
Jeremy
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[Marcus Samuel-Gaskin] “we don’t create all those sublcips or use aux/tc. Its a red herring as far as I’m concerned.”
I don’t get it. How can you use the Auto Sequence feature without AUX TC? You mentioned that your cameras shoot TOD which is never perfectly synched across multiple cameras. AUX TC helps to ensure that the offset from one camera matches the offset of another when TOD TC is in use.
I guess I feel like I’m missing a step in your workflow somewhere between your sync map and the finished multiclip.
Andy
https://www.timesavertutorials.com
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[Andy Neil] “I don’t get it. How can you use the Auto Sequence feature without AUX TC? You mentioned that your cameras shoot TOD which is never perfectly synched across multiple cameras. AUX TC helps to ensure that the offset from one camera matches the offset of another when TOD TC is in use.
I guess I feel like I’m missing a step in your workflow somewhere between your sync map and the finished multiclip.”
For the stuff that’s ‘on site’, Lockit Boxes and a Sound Devices rig are used. Between the two they are rock solid TC wise. Only at the beginning of the production did we have TC issues while they were working out the kinks. Since then never more than a frame out here or there which can be easily adjusted for. Shooting XDCAM.
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[Marcus Samuel-Gaskin] “For the stuff that’s ‘on site’, Lockit Boxes and a Sound Devices rig are used”
But for a Lockit Box to be of use, don’t the cameras have to be within a certain radius of each other? In your earlier post you were talking about cameras breaking away from the main action to follow something else.
I suppose if you have two at one location and 2 out and about, you just need to worry about the cameras near each other maintaining sync in most cases. But I’m curious about the range of the Lockits if you’re shooting on a large set like a mansion where the cameras could be hundreds of feet from each other upstairs or downstairs.
Andy
https://www.timesavertutorials.com
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[Andy Neil] “But for a Lockit Box to be of use, don’t the cameras have to be within a certain radius of each other? In your earlier post you were talking about cameras breaking away from the main action to follow something else.
I suppose if you have two at one location and 2 out and about, you just need to worry about the cameras near each other maintaining sync in most cases. But I’m curious about the range of the Lockits if you’re shooting on a large set like a mansion where the cameras could be hundreds of feet from each other upstairs or downstairs.
“Not sure about the exact on-site range but it’s been certainly good enough for delivering 3 series of the show.
When the teams go out shopping for supplies, they are relying on the internal clock. I’m not in camera dept, but I assume they sync in the morning before they leave. When we get the rushes back and build the layup it’s solid. No serious issues at all.Unfortunately I can’t test out FCPX at work as they are all on PC Avids.
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[Andy Neil] But for a Lockit Box to be of use, don’t the cameras have to be within a certain radius of each other?
No. There can be any distance between them. So for fun you can meet at an airport with some friends, sync all the Lockits with a master one and fly to different places and shoot.
All videos will be in sync perfectly as long the cameras do have a TC in.
If they don’t have you have to use LTC, which is also provided by a Lockit as well, on an audio channel.I don’t think that an AUX TC is ancient, it’s more actual than ever with FCPX and it’s options to sync multiple clips. Unfortunately FCPX doesn’t support multiple TC tracks – and no TC handling/modification like FCP.
Here a link to movie how we did 5 years ago. The voice over track was damaged and so I deleted it. Therefore it is a silent movie with some funny mouse movements cause of missing comments.
https://www.spherico.com/filmtools/image_upload_folder/multiSync.movSync options for multiclip handling on the one side are better on the other side are worse. Avid’s option to use LTC always had been working fine.
LTC also is a really underestimated thing in these days.– Andreas
Spherico
https://www.spherico.com/filmtools“He who fights with monsters should be careful lest he thereby
become a monster. And if thou gaze long into an abyss, the abyss will
also gaze into thee.” – Friedrich Nietzsche, Beyond Good and Evil
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