selecting entire “tracks”

[Craig Alan]

Hi Jeremy,

I think we are barking up the same tree.

I got this far.

But did not really create a role that would apply to a given channel of audio. It only applied to the selected instances of that channel when I named them channel A, for example. But if I edited a new clip into the timeline, its channel A would not be recognized as part of Channel A role. Not that I expected it to, but that is my need – to have a role for a channel of audio.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Jeremy Garchow]

[Craig Alan] “Not that I expected it to, but that is my need – to have a role for a channel of audio.”

You have to expand audio components (I forget the default command, but I have it mapped to shift-e), and then you can assign Roles to channels, and it must be done from a timeline.

[Craig Alan]

That’s what I tried to do. I expanded audio on the entire timeline. I selected all the A channel clips. I typed channel A in the info tab in the inspector on the Roles:_________. Doesn’t seem to have accomplished anything so I guess I did it wrong.

If I select Roles in the index, if I uncheck music it unchecks channel A and vice versa.

I’m going back to square one and read/watch some tutorials on creating roles. Cause I’m not getting it. And my asking here has only created a bunch of discussion that most likely belongs in the X or not forum.

This is not going a way for me. I like to record on the four channels using our P2 cams cause it gives us a reference track in case something goes wrong with the cordless connections or to use for sync on our B and C cams. But once we are editing, I, for the most part, want to mute all channels except channels a1 and a2, either a stereo pair or one pair of dual mono. Doing this clip by clip is tedious.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Andreas Kiel]

Craig,

I understand what you mean. And I feel affected by this issue as but for another reason.

I do like the trackless way of working. I do like roles – I even love them. But for me and my customers there are some disadvantages.

If you assign a title to a clip it by default has a role: “Title” . But it could be a special “Title”, for example “Spanish Sub”. Therefore every time you want to insert one blank title you have to assign a role or copy one which has this role. Both ways waste time.
Now if you assign a dissolve to this (these) titles they will be in a new storyline – still keeping their roles.
To copy all these “Spanish Sub” titles to a new “Spanish Sub Project” you can go to the timeline index select Clip-Titles and filter by “Spanish Sub” role. Then copy and paste into the new project/sequence.

The result is that all your dissolves are lost – dissolves don’t have a role. The only workaround is to go thru the whole timeline and select each single clip to extend the selection. This is a tedious, time consuming action, which in this case will eat up a lot of the time you saved earlier.
In this case using tracks would have been 3 clicks and second to finish compared to trackless with a few hundred clicks and many minutes.

So there is still a lot of room for development.

– Andreas

Spherico
https://www.spherico.com/filmtools

“He who fights with monsters should be careful lest he thereby
become a monster. And if thou gaze long into an abyss, the abyss will
also gaze into thee.” – Friedrich Nietzsche, Beyond Good and Evil

[Robin S. kurz]

Ah, you were talking specifically about multi-channel audio. I thought in general.

But yes, you could simply open the clip in the timeline and assign the roles individually there. But that’s not necessarily very practical, so there’s definitely room for improvement.

But I personally prefer to rename the entire track (audio component) as opposed to using roles, which I can then see in the timeline (without having to switch). Something I can do in the event and also in batch (assuming they have the same audio).

[Andreas Kiel]

So using shift-z (and scaling down the zoom) using the timeline index and selecting some clips you can build amazing city shapes and skyscraper shapes.
I uploaded one here with all lights switched off (I was a bit fast on doing the screen shots so it’s only about to 2k height).
The contest is to create the highest skyscraper with at least 30 cells on the base (mine is 2048 px at the moment). Underwater (audio) doesn’t count yet, but we could extend the challenge.

https://dl.dropboxusercontent.com/u/63959366/skyScraper.png

Have fun
Andreas

Spherico
https://www.spherico.com/filmtools

“He who fights with monsters should be careful lest he thereby
become a monster. And if thou gaze long into an abyss, the abyss will
also gaze into thee.” – Friedrich Nietzsche, Beyond Good and Evil

[Craig Alan]

Could you please break that down a little for me. How do I rename an audio component and what’s the advantage over the current name of Channel A a1 a2? I clearly don’t get roles and need to work on that. But I still want to solve this problem in whatever manner is best within FC. What I am experiencing as I edit this piece (a multicam shoot of a performance) is that every time I switch a shot from one angle to another, I have to check in the inspector to see that the proper channels are selected – every new edit they are not. I want all edits to just be channel A a1 and a2. The first time I did this was tedious enough as is using the down arrow key to go to every clip and uncheck 4 boxes in the inspector for every clip. There has to be a better way.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Jeremy Garchow]

Hi, Craig. I don’t think you need Roles for this.

In the mulitcam angle editor, you can select which channels of audio you’d like to see, all at once.

One great feature of X is selecting a bunch of similar clips, name, select, and assign channels in one big batch. You can also turn channels on and off, and it will apply those settings to all clips.

For mulitcam, You can also designate an audio track to use, and never switch the audio, and just switch the video. This is great is you have a “master” audio track that was sent to each/all camera, or a separate audio record.

[Craig Alan]

When I started the edit, I selected cam a exclusively for the audio. On first pass this worked but somewhere along the line this stopped working and now each edit the clip audio has to be selected again. Also even though cam A was set as the audio for all clips, I did not see the option to choose which channels coming from cam a would be used. Where do I look for this?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Jeremy Garchow]

In the viewer, you can choose to see all the angles, you have that turned on so you can see the angles during playback, correct?

At the top, there’s a few icons, one is audio and video, one is video only, one is audio only.

Select the second one, which allows video only switching.

In the Angle editor (double click the multi clip), choose which angle you’d like to be the master audio, then select the little speaker icon so that is the “monitoring angle”. The speaker should be blue in color.