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The exponential greatness of multicam in FCPX
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I agree that flattening multicam would be awesome.
But I must ask… are you saying that you would make editorial changes one project (timeline) – and those changes would be reflected on the other project (timeline)? If so, that’s crazy! Or maybe you were editing a compound clip? Sorry to be a bother, but I’m really curious to see if that was the case or I’m misunderstanding…
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It’s not crazy. A multiccam clip works just like a compound. So if you duplicate a timeline that has a multiccam, then make changes in the angle editor, it’s going to affect all instances of that multicam. In some situations those changes might be very welcome across the board like color correction. But swapping out visuals of one set of lyrics for another to do an alternate version would not be since it would screw up the original version
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Thanks for clarifying. Yes. I am aware that multicam is like a compound sequence. For a second I wasn’t sure if that’s what you were talking about. So, with that cleared up, then the rather wordy workaround response I originally gave you would help you with that if you wanted to make multicam clip changes for one sequence but not have it affect the other. ALRIGHTY THEN!
Good chatting with you and I hope that little workaround helps you out sometime in the future.
In regards to the original poster’s question about the advantage of multicam in FCPX vs other software:
As an editor who spent 10 years working in media composer and FCP Legacy before trying X just for fun (and then falling in love with it) I would say this – I can’t imagine that any one of the major NLE systems is going to be THAT much more advantageous than the other. I’m sure each person can find what works for their workflows. I would frame my answer as follows…
It doesn’t matter to me if the multicam function on FCPX isn’t perfectly suited to my needs. I think that any shortcomings it might have are offset by all the other awesome shit in that program (especially the new editing paradigm – metadata/organization – roles). So, no matter what you find out from this very knowledgable crowd, I don’t think you should base any final NLE decisions on just that one function. I’m sorry I don’t have anything more helpful than that to add. I’m just not that familiar with the minutia of the multicam functions of the major NLEs.
If anyone else would like me to tell them how to live their lives, I’m here all night! Try the veal!
James.
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[Bret Williams] “It’s not crazy. A multiccam clip works just like a compound. “
I worked in PPro (not X) but the handling of the multicam seems very similar and this tripped me up on the first project I did in PPro. I came in one day and all my edits from this one source were all off in the timeline. It was driving me nuts until the producer mentioned that he found a missing camera from early that day and added it to the existing multicam (thus shoving every down the multicam timeline to make room for it). That’s when it really dawned on me that the multicam was basically a nest (to use a FCP 7 term). Which can be really good in some situations and really bad in others.
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[Oliver Peters] “But once you go back into the 720p sequence to work with the mcam, the sizing isn’t right”
I have this issue when I use 4K material in a multicam that is being cut into a 1080 timeline. My solution is to copy the 4K clip to a higher track then flatten it, and then you can resize normally while having the multicam link on the track below. Not optimal, but it works. In truth I always have a 1080 version of all my 4K material and put them both in the multicam source. I do all my cutting with the 1080 angle, then replace with the 4k source and flatten only when I need it. I realize not everyone has the time or inclination to transcode the duplicate angle, but either way it’s workable.
[Oliver Peters] “I haven’t done a lot of mcam in X, but two things that bother me are: 1) the fact that audio gets cut with every edit (you have to detach/connect if you want one clean track of audio),”
Which leads me to the question – how easy is it to switch audio sources independent of switching video, assuming you have different audio recorded to different channels on all your cameras? Legacy was very good at handling this, since the multicam mode could be A/V, video only or audio only – although this would not let you switch between different channels from the same camera – I would match back to the original source for that. Ppro has an audio follow video function, but at the moment you have to change video angles to change audio angles, which is a PITA, and like legacy it does not allow you to switch channels without matching back. How is this handled in X?
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
A disadvantage on the X side is that you cannot stabilize a multi cam clip on the timeline (storyline) Nor can you slow it down and use optical flow. If you use the put audio effects on clips in the nest (angle editor) you will hear a cut on every edit on your timeline.
An advantage is the implementation is really simple and easy to learn. It scrubs better than PP and the way it cuts angles makes more sense than how PP does it IMO. The setup process for PP’s Multicam when using multiple start stop clips is a little weirder to me. But I just have to get used to it. I’m still not confident on how the nesting works and adding angles after the fact in PP. X’s implementation is so straight forward, you could figure it all that out fairly easily.
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You can change audio angles in the inspector simply by unchecking the channels you don’t want and the the ones you do want. You can also “expand audio components in the timeline” which will drop down all your audio sources in a track like manner. You can make volume adjustments or mute channels on a clip by clip basis.
You can also right click and change audio angles or program it to a hotkey.
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You are using 4K footage?
What are your deliverables?
Just asking
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[David Powell] “I’m still not confident on how the nesting works and adding angles after the fact in PP. X’s implementation is so straight forward, you could figure it all that out fairly easily.”
Unfortunately I haven’t used X so I can’t act as a translator, but I cut a web series that was 99% multicam last year using PPro CC and overall the experience was wonderful. I know nesting in FCP 7 could be dangerous but that’s far from the case in PPro and adding angles after the fact is as simple as opening up the nest, adding in the new video/angle, then getting back to editing.
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You can change audio angles in the inspector simply by unchecking the channels you don’t want and the the ones you do want.
That does not get rid of the fact that FCPX edits audio on every cut in a Multicam project/sequence (I am increasing bored with having to translate terms for the benefit of apple).
It should not put invisible audio edits in the audio track that has been selected if you select video only for cuts.
Massive flaw.
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