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Swapping out wrongly synced footage in timeline – how?
Folks I am curious how you’d go about handling this one.
Assistant editor synchronized audio and video to a custom frame size and frame rate different than the source video clip. These clips were edited into the timeline. I want to use resynced clips using the correct frame size and frame rate to replace those done wrong.
Obviously I hope this was done by accident, although one would have to select “custom settings” in the synchronize window to even get this to happen.
I am concerned because FCP X is pretty strict about it’s file associations.
Here’s a better picture:
clip1 – 1920×1080 59.94
audio 1 – 48Khzresulting synced clip: 1280×720@23.98
Is there a way to swap these files out none too painfully?
Tangier
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25 Replies
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confused- what is the timebase/resolution you want everything to be at?
Noah
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They synced clip should have been the same size and frame rate as the original video clip.
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You should be fine with just leaving it like that unless you are leaving FCP X to go to sound and color. The downside is that FCP X will want to render those clips.
Sharing a master FCP X seems to factor in the original source clip’s frame size and frame rate plus the timeline settings and skips the clip settings.
I’ve done tests and I haven’t been able to get it to matter what the sync’d clip is set to within FCP X on the timeline.
If a 1080i 29.97 HDV clip and make it a 540p 23.98 clip it plays like it’s those settings. If I put the same clip in a 1080 59.94 timeline and lay it on top of the same clip that is set to the native clip settings they are identical.
Every frame I skip through is there on the 60p timeline, even though the clip is set to 23.98.
The other option is you can break apart the clips which isn’t deal.
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Yeah, I was going to consider doing what you suggested – leaving it in place. Since a synced clip isn’t really a standalone file, I figured I wouldn’t loose quality by having the synced 1280×720 clip on a 1080 storyline. I hope that is the case since the 1080 clip is what’s actually in the synced clip. Not totally sure how FCP X handles this other than rendering. Not sure if it’s then possible to change the settings of the synced clip to match the clip inside it either.
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I will say though that in this process I noticed something the assistant editor did I’ve never seen anyone do before – use two tracks of audio in a compound clip to sync with the video. To my surprise that registers all of the audio in the inspector to be able to toggle off and on.
Generally if there is more than one track of audio I make a multicam clip because making a synchronized clip does not give me the ability to toggle multiple audio in the inspector on and off.
I still wouldn’t use compound clips this way, but it was an interesting approach.
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[Tangier Clarke] ” Not totally sure how FCP X handles this other than rendering. Not sure if it’s then possible to change the settings of the synced clip to match the clip inside it either.”
It seems on export only the native clip resolution and frame rate matter in relation to the export settings. I haven’t been able to break it.
What I did to test it was I synchronized the fake clips, made the resolution 960 by 540 and 23.98 even though it was HDV 1440:1080 60i/29.97i footage.
I put the clips in a 1080p 59.94p project and then overcut the original untouched HDV clips. By enabling and disabling them I couldn’t see a difference. I then exported the fake 23.98 540p synchronized clips as a ProRes 422 at the project settings of 1080p 59.94 as well as the untouched HDV versions of the clips
I couldn’t see a difference at all in a split screen. Although it’s not confirmed in the manual, it seems you should be fine leaving it be.
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I appreciate the testing. Thanks.
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[Tangier Clarke] “I appreciate the testing. Thanks.”
It was for a previous situation but I did double check it was still true in the current version.
Phew.
To be 100% sure you could break apart the clips before you color which does revert them to the file native settings.
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I report this to apple as there is something weird with Synchronized clips, especially when processed with XML.
I routinely shoot in 4K with 1080 deliverables. I reframe and use the extra pixels a lot. For whatever reason synchronized clips inherit the timeline settings, so that means my 4K clips are now 1080 to FCPX. It does not allow me to reset spatial conform, and it causes problems in the XML which spoofs 4K clips for 1080 clips.
Darren may be right that leaving it is OK, but it would be great if you could let Apple know of these issues.
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[Jeremy Garchow] “For whatever reason synchronized clips inherit the timeline settings, so that means my 4K clips are now 1080 to FCPX. “
How are the clips being synchronized? Last year there was an issue with Sync N Link that was doing this, it ended up being a problem going to Resolve. I had to break apart the clips and re-reframe™ to fix it.
The other odd one is 5K Red Epic footage when synchronized is set to the stock FCP X 5K resolution which causes vertical black bars on the sides. I have to manually enter 4800 by 2700 on each clip to fix it.
When I manually sync clips in FCP X I have to leave custom settings on to make sure the native clip settings stay put for certain formats. Not ideal but it works.
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