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The exponential greatness of multicam in FCPX
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FWIW – a reminder of the current options in X and what we used to be able to do in 7.
https://digitalfilms.wordpress.com/2014/02/14/fcp-x-screen-layouts/
https://digitalfilms.wordpress.com/2010/06/18/better-editing-with-custom-screen-layouts/
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Scott Witthaus] ” Apple did something very right with this software.”
I’ll stay in the subjective mode and say, I think that depends on how one values what they did. For me, it’s not so much. My mileage doth definitely vary.
David
https://AllinOneFilms.com -
[David Powell] “That being said, once I get to the timeline, I’m sorely missing an Avid/PP style extend edit among all the other trim features.
“
Not sure if this is what you need, but an extend edit is shift-x. You can also use the option left/right bracket as well as option backslash which will move the cut point closest to playhead/skimmer. You may have to select which cut point with the brackets, or select both with the backslash.
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[Herb Sevush] “in my case, most of my work is studio multicam where we sync to time code with virtually no start-stops of individual cameras, so this feature is of only minor interest. In my workflow I’m not looking for one long multicam with everything, I want each camera stop, where all 5 cameras start and stop together, to be a separate multiclip.”
I honestly wouldn’t give any advantage to FCPX for studio multi cam. In that regard it wouldn’t really any advantage over PP or Avid. FCPX’s multi cam poses more advantage for run and gun multi cam like docs and DSLR Weddings. However only in the syncing flexibility of the angel editor. Again the inability to to add audio effects inside the nest without making cut noises and inability to stabilize clips on the timeline actually gives it disadvantages even for these type of projects where it’s needed most.
Also if you attempt to nest a multi cam clip to create a source side out of a timeline (like a faux pancake edit) you lose all your marker information and when you cut it back into the timeline, all the angles are messed up. This means to create a non-linear highlight of a longer requires going back and forth from the beginning to the end of your edit. And because I/O points has changed to “range” you can’t use an in point as a place holder to quickly “go to in ” for speedy moving around in the timeline.
A few reasons why it’s been said that FCPX is fast on the front end but not so much faster during the edit in all cases. Though you really DO miss magnetic moving when you don’t have it.
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In reply to Jeremy and James, FCP’s (7 and X) extend edit is not like PP and Avid. in FCP you must select an edit place your playhead and Shift X. This is totally inefficient and inorganic. in PP the parlance is “roll next/previous edit to playhead. This means i can hit play and just set a hotkey (“y” and “n” for me) so that as soon as the story hits a beat I hit “Y” and the previous edit rolls to that point live with no setup. You just hit play to the point where you want the edit to roll and one keystroke rolls it to the playhead. PP’s is actually the most fluid of the three as Avid requires an I/O stroke to make it work but its not much slower.
James in Avid when you’re going down the TL you hit U and the nearest edit is automatically selected and you’re in trim mode which gives you a 2 up display now you can use jkl and the edit will move live as you play. FCP 7 and PP have a clunkier version of it. In Avid if you hit the space bar it will continuously loop the edit point and you can trim left right or ripple live and it’ll update every loop until you you’ve nailed it. Hit “A” or “S” and now you’re on the next edit point ready to trim. And you can move down your whole rough cut and polish it effortlessly.
If you came from FCP7 and never used this it’s hard to appreciate how special it is. Similarly to how those who haven’t mastered the magnetic timeline can’t appreciate how special it is. It just sounds foreign to them. Btw, I sorely miss multiple BG exporting out of FCPX when I’m in another NLE. When you’re a lone ranger with one computer this is a huge deal. Not so much if you have a slew of them on a shared network perhaps.
Sorry if this went off topic Herb.
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[David Powell] “Sorry if this went off topic Herb.”
But it went beautifully off-topic. An unbiased comparison of very specific features. Perfect.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Great thread you started here Herb, care to start another one about the benefits of the magnetic timeline?
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[David Powell] “the inability to to add audio effects inside the nest without making cut noises and inability to stabilize clips on the timeline actually gives it disadvantages”
Do you meant you can’t stabilize individual clips in the final edited timeline, as opposed to stabilizing inside the nested multiclip? That would be problematic, and a place where the ability to “flatten” a clip so you are no longer bound by the nesting procedure would come in handy. In Ppro, for example, in order to send an audio clip to Audition for a little tweaking you first have to flatten it — you can’t send the audio from a multiclip. This is where “flattening” really comes into play for me.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
I’d like to see that. Started by anyone.
Tim
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[TImothy Auld] “I’d like to see that. Started by anyone.
Tim”
Done!
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