No handles on clips in timeline

[Michael Phillips]

Are you in a film project (35mm or 16mm)? Those projects have “hard subclips” in order to protect metadata that may be different – although that was more of a Keykode protection issue with early film workflows and transfers and is less of an issue in non-film based workflows.

But the “hard subclip” concept still remains in a film project preventing a user from trimming past the boundary of its subclip start-end. If not a film project, it may be something else but I would have to test some scenarios to know for sure. I tend to work in film 35mm projects to have 1/4 frame sync capabilities with translation to Pro Tools when turning over sound.

Michael

[Sean Lennon]

Thanks for the reply. No, shot on digital Panasonic camera.

[Michael Phillips]

I’m aware of that, but what project type did you create? A film project still supported digital cameras, but the subclips are still hard subclips.

Michael

[Michael Phillips]

You are correct, and it’s coming back to me… in a non-film project you can trim past the boundaries of a subclip but you cannot trim past the boundaries of the .sync clip. Avid would have to explain why in this scenario.

Michael

[Sean Lennon]

Ah ok, damn that’s no use to me. Surely the ability to trim is necessary on synced subclip’s unless you create final and definite in and out marks that you don’t plan on changing.

[Michael Phillips]

It is strange that in a non-film project that the .sync has this behavior. It would seem to me that it should be able to trim to the end of the track’s respective sub/master clip. Basically behave like a subclip in a non-film project. I can think of a few ways for this to work in the digital age allowing the user to define behavior.

Group clips “might” be a workaround for you.

Michael

[Sean Lennon]

Thanks again, group clips? How so?

[Michael Phillips]

Rather than using AutoSync to marry V and A tracks, use group clip. You’ll end up with a .grp clip but can edit with it the same way and if I remember correctly, you should be able to trim past the boundaries. The one downside is I don’t believe you will see frame offsets in the timeline if slipping out of sync, but that needs to be tested as well.

Michael

[Sean Lennon]

Thanks man. So if you can sync sound to video and then create subclip’s then you can trim and lenghten clips in the timeline, so why on earth can’t you change the order of when you sync and still be able to trim or lengthen, ultimately it’s still a synced subclip either way. Makes no sense to me.

[Drew Hutchison]

I believe I saw your post about syncing up subclips based on timecode in the bin display on a different thread and believe that these two threads are related.

From what I guess, you initially created subclips before syncing external audio to your shots and now want to be able to edit the subclips with the external audio in sync. While I don’t know your workflow, I would recommend that if you’re wanting to be able to keep everything in sync while using the external audio from your already created subclips, Michael’s point is correct in grouping your clips.

If you first group your footage to the external audio you will have a .grp and can create subgroups just like subclips from master clips.

The difference now being that your external audio will now be “parented” or grouped to your video and in camera audio. You will also be able to match back to the master group and master sync map with these subgroups, making your workflow pipeline very clean if you ever need to check back on pre-roll or if something was/was not shot.

Once you group your clips, if you’re seeing only a few of the audio tracks, you can right click on an audio track (for example: A1) and switch between the grouped audio tracks in that track.

Having .grps and even subgroups will allow you to maintain your handle on both sides of your clips from your original master sequence (or in the case of subgroups, your original group).