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Screenlight: Will Accounting Woes at Avid Spark Big Changes or an Acquisition?
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[Chris Harlan] “You know what should be simple? Sync markers. Visual relative time code. The ability to relink and re-sync audio and video once its been disconnected.”
I am not going to make an excuse here, there should be sync markers.
But you know what is really easy?
Copy audio from a clip and paste it separately (as a connected clip) anywhere you want in an FCPX timeline without worry or need of destroying or overwriting, or placing the puzzle pieces exactly right before pasting, and then you can simply turn off the audio on the first (copied) clip.
How do you get it back? Turn it back on.
Put simply, there’s no reason to disconnect the audio in the first place, just leave it there and turn it off and on as you see fit, the dynamic timeline adjusts.
I know, I know, people will hate it and call in ‘unpro’, but I am on 5 days of over the shoulder client attended editing and it is the most creative “in person” sessions I have had since my very first over the shoulder session.
There’s still nothing like the first time.
Just like the Avid or FCPX interface, I don’t really care what it looks like, I don’t care about the caché of using one platform over another, I just care what I can do with it.
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[Herb Sevush] “Since when.”
Since the discussion in this sub-tread began with this post.
[Herb Sevush] “If you really think a few hundred dollars is that important you should be pushing Lightworks. It’s free. That’s more than a million times less than FCPX. “
I make a policy of seriously evaluating pretty much everything that might plausibly be useful (and that’s sanely priced), although I’ve held off on Lightworks so far pending Mac/Blackmagic compatibility.
[Herb Sevush] “I would rather Apple spend their programming time working on making X more useful to more people than worrying about the look of the time code clock.”
I suspect they have the resources to do both.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Jeremy Garchow] “Put simply, there’s no reason to disconnect the audio in the first place, just leave it there and turn it off and on as you see fit, the dynamic timeline adjusts.
“THAT is quite a statement! Apparently you don’t have to do much dialog work.
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[Chris Kenny] “I suspect they have the resources to do both.”
But apparently not the desire, or 2 years in it would be capable of my workflow.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Chris Harlan] “THAT is quite a statement! Apparently you don’t have to do much dialog work.”
The pieces I am working on are all dialog.
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[Jeremy Garchow] “Copy audio from a clip and paste it separately (as a connected clip) anywhere you want in an FCPX timeline without worry or need of destroying or overwriting, or placing the puzzle pieces exactly right before pasting, and then you can simply turn off the audio on the first (copied) clip.
How do you get it back? Turn it back on.”
OK, so now I’ve got this copied audio, it’s from a talking head clip, and it’s acting as VO for a montage of action shots. Now the client wants me to break up the action shots with a little bit of the talking head video (it’s very emotional, he’s talking about his pet rock here). How do I “turn on” the video from this audio copy?
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jeremy Garchow] “I know, I know, people will hate it and call in ‘unpro’, but I am on 5 days of over the shoulder client attended editing and it is the most creative “in person” sessions I have had since my very first over the shoulder session.
“Sorry Jeremy, but unlike other forums here on the COW stories of actual use of the software don’t really count.
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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[Herb Sevush] “How do I “turn on” the video from this audio copy?”
It’s right where you left it from the original clip.
You discussed detached audio, I gave you a solution.
If you want to keep video, you simply put the video clip (with audio) underneath the primary.
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[Jeremy Garchow] “You discussed detached audio, I gave you a solution.
If you want to keep video, you simply put the video clip (with audio) underneath the primary.
“This works,the majority of my work is interview based narrative, I never disconnect the audio so sync is never a problem although I mostly use the Primary for narrative and build up above.
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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[Jeremy Garchow] “It’s right where you left it from the original clip. You discussed detached audio, I gave you a solution.
If you want to keep video, you simply put the video clip (with audio) underneath the primary.”I never know, until an edit is locked, whether any piece of audio is going to be used with it’s sync video or not. So every instance of audio would have to carry it’s video with it, buried under the primary, just in case I needed to bring the video back in sync. Meaning if I have some audio used as natural effects with some overlapping dialogue I could have 3 -5 layers of video buried under the primary waiting to make an appearance – and this seems reasonable to you? I’ll take your word for it until I actually try it out.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf
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