Replacing temp stock music?

[Mark Smith]

I have a couple of project that use stock music from Pond 5 . I used the ‘watermarked’ pond 5 cuts in the projects and now have to replace with purchased version of same cuts.

Could I ? Delete the pond 5 temp cuts from the library which will make the music in the project go off line, then import the purchased cuts without watermark and relink to the tracks I used. Basically is there a techie way to replace the temp cuts with the purhased cuts without having to actually re-edit the music in the project?

[Michael Hancock]

This might work, but if the unwatermarked tracks are different in any respects it won’t because FCPX is incredibly strict when it comes to relinking.

1. Select the watermarked track in your library.
2. File–Relink
3. In the Relink box, click on All (since your watermarked version isn’t offline)
4. In the Relink box, click Locate All.
5. Point to the unwatermarked file.
6. Click Choose. If the file can be linked to the unwatermarked version it will link it and you can just hit Relink Files in the Relink box, and your watermarked file will be replaced with the unwatermarked version. If it can’t, you’ll get an “Incompatible File” error and it will tell you why it can’t relink.

If you get the Incompatible File error, you’ll need to just import the unwatermarked audio and recut it into every project.

—————-
Michael Hancock
Editor

[Mark Suszko]

And if the re-import thing doesn’t work, is this a situation where audio Roles and auditions might be useful to do a quick re-alignment?

[Michael Hancock]

Roles could help a bit, I suppose. Auditions are great sometimes, but I don’t think they would really help much in this situation because you would need to create the audition with the exact same sections of audio that you used, so you may as well just overcut everything.

To use roles to help, you could set the music in your timeline to be a MusicWatermarked role and then unwatermarked music role just Music, then when you turn on Show Audio Lanes you can stack the two under each other so you can line up the waveforms easier. More of an organization thing than anything (and part of what makes tracks so useful in situations like this).

When I run into this relinking issue I just match frame the watermarked audio in my timeline and make note of the timecode or time from start, then go to the unwatermarked audio and go to the same point and attach it, then manually line it up if it’s a frame or two off (or less than a frame). I do this for every edit, if I’ve cut the music up to fit a specific time/beat, etc…. It doesn’t really take long, but it’s a nuisance.

Something to do in the future is to take your watermarked music at the beginning of your edit and create a compound clip of it, then edit with that compound clip. That way you can just open the compound clip and drop the unwatermarked music over it, line it up to match the watermarked music if it’s slightly off, then either delete or mute the watermarked music. This will ripple into all of your sequences. It’s a good practice to get into.

—————-
Michael Hancock
Editor

[Doug Metz]

[Michael Hancock] “…take your watermarked music at the beginning of your edit and create a compound clip of it, then edit with that compound clip. That way you can just open the compound clip and drop the unwatermarked music over it, line it up to match the watermarked music if it’s slightly off, then either delete or mute the watermarked music.”

This right here is the nugget you’re looking for.

Doug Metz

Anode

[Jeff Kirkland]

* missed that someone already said this…

The best way to approach using stock music is to put the music in a compound clip before you start. Edit with the compound clip, then you can just replace the contents of the compound with the non watermarked track later and job done.

—-
Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Mark Suszko]

This will be Mr. Smith’s solution, …right after he gets his time machine worked out. It’s brilliant to do *before* you start. And you’d better believe I’m writing this one down for my own use in the future. But he’s already cooked the omelet and it’s too late to put it all back in the eggshell now.

[Mark Smith]

I generally will make edited music into compound clips to “lock it” as much as possible. Then I just have that one compound clip connected at one point to the time line and not a bunch of music edits connected individually to the time line.
In the case of these projects, the edited music is already compound clips so once I get the clean tracks, I’ll try the relinking trick first and if that doesn’t work I”ll head towards plan B which is replacing the music in compound clips by lining up WFMs.

[Doug Metz]

[Mark Suszko] “But he’s already cooked the omelet and it’s too late to put it all back in the eggshell now.”

True enough… should have made that caveat initially.

FCPX is horrifically strict with re-linking – so much so that I think for what’s already done with the music will need to be re-done with the licensed track. It can help to have the Used Media Ranges turned on in the browser to see what was stripped from the preview track.

Doug Metz

Anode

[Rob Mills]

OK this won’t help you now but this is the method I use for temp music after having issues relinking to non-watermarked music
https://www.youtube.com/watch?v=clNGkhE6pnE&index=22&list=PLduCDSkvsldSqrxA1O34aF4pRpJ8_8-VS&t=0s

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