putting a sequence into another sequence…

[Paul Dickin]

Hi
In your Browser you can Search for any descriptive term, and Sort any Column like Reel # or a Comment field with dates or times entered into it.
So its best to organise your assets in the Browser, into meaningful Bins, with all the appropriate Columns filled with keyword information.

FCP works much better with as few Sequences in either timeline tabs, or nested, as necessary. If you nest a long sequence full of shots and cut that into your current assembly sequence it will take a whole lot more RAM for FCP to work out what to do with the nest. Do that a few times, sequence within sequence within sequence, and you’re editing in treacle…

600 shots is nothing 😉
I am currently working with shots digitised from that many DigiBeta tapes 😉
I set up an organised Browser, then do some assembly/sorting into a timeline sequence. Once I’m happy with that bit of work-in-progress I either leave it for the moment and work on another preliminary-edit sequence, or move on to set up a more formal Assembly Sequence One, where I copy and paste clips from inside the first sequence(s) – so its not a nest.

This means that the first older sequence is now frozen in time, a backup. I never use it again for editing, and it needs to be closed from the timeline tabs to free up RAM resources.

When I Save As the project to move to another stage of the edit – Assembly Project Two – I can delete from the new project any very prelinary Sequences that I know have been incorporated into later assemblies. That way I try to keep my projects uncluttered.

My hour/hour-and-a-quarter programme editing projects never go much above 20-30MB, yet a beginner FCP colleague who edited nested sequences into nested sequence into nested sequence ad lib got to 200MB+ in a fortnight, and ground a well-speced G4 Mac literally to a standstill…

BUT, there as many ways to edit with FCP as there are editors…

[Mark Palmos]

[David Roth Weiss] “Gosh Mark, what is it about you and NLEs? If you adopt one, doom is soon to follow… Must be that Greek tragedy thing.”

heh heh
believe me, it is NOT intentional, but then i guess it wouldnt be much of a tradegy if it was…
lets take this thing offline, im sure it will get the rumour police running about if we carry on… speak soon
xmark.

[David Roth weiss]

[danny liem] “ive been organizing them by tape numbers.”

As they say, there are many ways to skin a cat, but in my opinion, the way that works best for me in the non-linear world is as follows:

1. create a bin for each tape and drag all captured clips from each tape into its rightful bin

2. break down the captured video into subclips, which will automatically go into the bin where the clips are

3. create new bins according to subject matter and either copy or move subclips into an appropriate bin (choosing whether to copy or move depends on your need to scan later according to reel number)

4. edit away…

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.

[Mike Colao]

Isn’t there a way to edit the source clips from a sequence as a series of edits reflecting the source sequence to the Timeline instead of inserting a nested section? I’ve been trying to figure this out as well….
Example: In AVID when you have a sequence in the source window set an in and out over a span of edits it will lay down the original edited clips to whatever video layer you have selected.
Now in Final Cut, if you put a Sequence with multiple layers in the source monitor the tracks are reflected in Video layer write button, but when you hit overwrite or insert you get a nested sequence….
Anyone have any idea what I’m try to say?

I think this is what Danny is trying to get at….

-MIKE