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The exponential greatness of multicam in FCPX
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That is correct. There is no flattening function. And double clicking to move to the nest doesn’t land you on the clip’s timecode. You have to match frame copy the TC, enter the angle editor (nest) type in the tc, select range, copy the clip, go back to the timeline paste clip and stabilize. You cannot use optical flow on a multi clip either, for speed changes.
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[Jeremy Garchow] ”
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.”If you are using the option left and right bracket FCPX knows which clip to extend. The shift X option requires highlighting the edit in question which is one step more and I never us it
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[Herb Sevush] “Just watched a demo and that is a nice feature, especially being able to re-sync from within the angle editor using audio waveforms.”
Do you have a link to the demo you are talking about?
[Herb Sevush] ” 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. What Ppro can do is take a browser full of multicam clips, lets say 100 clips of 5 camera multicam, ingest them all at one time and spit out 20 finished multicam clips in one belch.”
The first time I let PPro sync everything up I was annoyed that it made a bunch of timelines because I was expecting one big timeline that I would the sub divide as needed. What I quickly realized though is that getting multiple timelines actually made my life easier as different shoots each ended up in their own timeline for the most part. Bob’s interview was in one timeline, Jane’s was in another, and the tour of their factory was in yet another. All I had to do was clean up the angles (annoying, hoping Adobe fixes this) and rename the timeline.
There are times when I’ll have a long interview or shoot get broken into multiple timelines (everyone in the field stopped then started again) but it’s less work to combine those timelines every now and then than to have to sub divide one monolithic timeline each and every time I do multicam in PPro.
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[Andrew Kimery] “Do you have a link to the demo you are talking about?”
https://www.youtube.com/watch?v=Ie5YDDZpIgs
[Andrew Kimery] “The first time I let PPro sync everything up I was annoyed that it made a bunch of timelines because I was expecting one big timeline that I would the sub divide as needed.”
In Ppro there is a check box in the “create multicam” window that specifies whether or not to make one long multiclip or break it into discrete units.
[Andrew Kimery] “There are times when I’ll have a long interview or shoot get broken into multiple timelines (everyone in the field stopped then started again) but it’s less work to combine those timelines every now and then”
Actually I want to know if all camera’s stopped and then started. This save’s me from starting to cut something that has no continuity. If you’re syncing by timecode having discrete multiclips also allows the multiclip nest to have the same timecode as the angles within the clip, which can be problematic when dealing with long monolithic multiclips. I realize using timecode dates me, but I only use wave form syncing when I have to.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
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[Steve Connor] “Great thread you started here Herb,”
Thank you.
[Steve Connor] “care to start another one about the benefits of the magnetic timeline?”
Well, obviously I can’t. But I think the reason this thread was productive is because it chose a very specific and complex feature that all major NLE’s have, and then tried to compare them in a non-partisan way. Comparing timeline’s is way too large a subject, it would be better to compare how different timeline’s trim function’s work for instance. I will continue this notion on the thread you started.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Thanks for the link, Herb. PPro can sync clips in the timeline after the fact like that too. I haven’t done it for a while but I think you just select the clip that’s out of sync, select the 2nd system audio it goes with, right click, and select Sync in Timeline. I think that’s the gist of it at least.
[Herb Sevush] “In Ppro there is a check box in the “create multicam” window that specifies whether or not to make one long multiclip or break it into discrete units.”
Nifty, I never noticed that. Is it new to CC2014?
[Herb Sevush] “I realize using timecode dates me, but I only use wave form syncing when I have to.”
If TC is available I’d much prefer to use that because fewer things can go wrong. I also end up with many situations in doc/reality where not all cameras have audio or have the same audio. For example, two camera crews are following a group of people, the people split up for a bit (so do the camera crews) and just like that syncing by waveform goes out the window.
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[Andrew Kimery] “. PPro can sync clips in the timeline after the fact like that too. I haven’t done it for a while but I think you just select the clip that’s out of sync, select the 2nd system audio it goes with, right click, and select Sync in Timeline.”
Good to know. Thanks.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Steve Connor] “care to start another one about the benefits of the magnetic timeline?”
There’s always this: https://library.creativecow.net/austin_charlie/FCPX-Timeline/1
Or this (basically the same): https://fcpxpert.net/2015/01/12/exciting-webinar-taming-the-timeline/
Or any one of these: https://www.youtube.com/user/pixelcorps
Whereby the benefits only set in once you’ve understood the basics and have used it in production. Anyone that hasn’t used it or only used in sparingly will tell you they hate it and it’s useless yadda yadda yadda. No one that *I* know that has taken the time to wrap their head around it would ever want it to go away again. But if you’re fine with what you have…
– RK
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[Robin S. Kurz] “Anyone that hasn’t used it or only used in sparingly will tell you they hate it and it’s useless yadda yadda yadda.”
While I haven’t used it I don’t think it’s useless, many fine editors here seem to swear by it. For me it doesn’t look like the best tool for my workflow but I don’t hate it; then again I guess I just don’t qualify as an “anyone.”
[Robin S. Kurz] ” No one that *I* know that has taken the time to wrap their head around it would ever want it to go away again.”
So I guess you don’t know Oliver Peters or David Lawrence, both contributors here, who use X for part of their work, but still have problems with the “magnetic timeline.” Or maybe your reading of these threads is a little bit selective …
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Andrew Kimery] “Thanks for the link, Herb. PPro can sync clips in the timeline after the fact like that too. I haven’t done it for a while but I think you just select the clip that’s out of sync, select the 2nd system audio it goes with, right click, and select Sync in Timeline. I think that’s the gist of it at least.”
In addition to syncing using audio waveforms after the event, there is another option “sync to monitoring angle” (as opposed to “sync angle to monitoring angle”) which I’m not sure that has been mentioned which is very useful although not sure if PP does the same.
Essentially if it isn’t syncing quite right or you don’t have audio for a camera for some reason it pulls up a two up display. Park the playhead on the monitoring angle in the Angle Editor and that is the right window and on the left window you can skim along the angle that you need to sync and match frames visually when you find the matching frame, just click and BINGO. It pulls it into sync for you.
Pretty cool.
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