Paste Insert

[Bret Williams]

In this case, because you’ve gone the GAP route, I’d connect it to the gap clip, then do a one sided roll on the gap clip, achieving the same thing that jeremy said, but without destroying any of the cop that has audio.

Everyone does things differently. Why so many gap clips? I realize you’re probably keeping the brill separate from the on camera clips, but in this instance I think I might go ahead and put it all in the primary. Seems like you’ve got stuff on the primary, then you shift over to the secondary, then back to the primary, etc. For example, if the broll we’re discussing was already in the primary, you’d simply be rolling the video of the incoming or outgoing clip. 101 ripple editing. IOW It looks like you’re doing AB roll editing on two tracks, when 1 track is already capable of AB roll editing unto itself.

If you really need the visual simplicity of the TTTT method, you can always zoom out (shift+Z) marquee select everything you need, then use the P tool to move it all with mouse, keyboard shortcuts, or numeric values. But here’s the rub with that. If you have secondaries, it selects the clips in the secondaries and you can’t move anything. You have to deselect the clips within the secondaries and cmd select the secondaries themselves, then you can drag the chunk with the P tool just like the good old days.

[James Ewart]

Having clips separate in the timeline is tried and tested..my guess is that possibly Apple understood this and that’s why they gave us gaps. Keeping cutaways (B roll) on other tracks makes it easier to see where everything is.

In 7 I would, as default use four or five video tracks and (A roll or B roll) keep it all “checker boarded”…easier to actually “see” what’s there that way.

if I have all B roll on other “layers” then nothing below it is gone and I can tickle it forwards or backwards without having destroyed anything in the timeline underneath it.

Plus with this timeline I’ll be trying out more stuff on higher tracks but my go back to how it was…Auditions cannot replace this useful though it can be.

Plus pauses are powerful, and you need a gap for a pause.

For this timeline I had about 10 main bits of interview. first thing I did was drop them all in the timeline with Position tool and then figured out the basic structure of what goes where. Without so many gaps this process would be awfully claustrophobic for me. And then build if from there.

Thanks

best

James

[Bret Williams]

You’re right. I do generally work that way in 7. But in 7 all tracks are equal. In X, putting the broll on a secondary isn’t the same thing as putting it on a second track for organization. In 7 it would have no relation to anything and track 1 could move freely from track 2. In X you can use the P tool to move them freely in some ways, but it’s different for sure. So in some cases if it’s a linear progression like what your X sequence looked like, it might have been easier all on the primary. Just depends.

Auditions BTW, they just crash the hell out of my system. That’s the only time I get lockups or beach balls. Going through auditions. I don’t find them too useful. Turning on and off clips with V is more visual for me. I don’t like auditions changing the length of my timeline either. Not for me.