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Timecode Edit Workflow Question
Let’s say I’ve shot an interview and the client wants to pull out all the tidbits for the edit. I throw the raw footage on the timeline in FCPX and add the timecode generator, export the clip and send it to them. I get the edit list back w/timecode notes. It would be cool if I could set in/out points in the timeline and add keywords, but that doesn’t seem like an option at this point, so I’m thinking I would skim through the timeline and Cmd+B at the in/out points, then “lift from primary storyline” to separate the clip from the main timeline while keeping overall timecode intact. When I’m done with all the clips, I could just copy all the “lifted” clips and paste them into a new project. In the new project, they still come in as as connected clips, so I would then need to “overwrite to primary storyline”, then delete the gaps. Does this seem like the best way to tackle this?
Jason Jenkins
Flowmotion Media
Video production… with style! -
7 Replies
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I’ve been marking in and out on the timeline then cmd-C to copy and then moving to the end of the clips and cmd-V pasting, don’t think that’s quicker than your way though
“My Name is Steve and I’m an FCPX user”
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Not sure I agree.
It’s so astonishingly easy to “red-x” ranges of your clips in X and achieve a very rough “first cleanup” (kinda a stage prior to SELECTS) and start building your initial database with EXCLUSION ranges – that I don’t think I’m EVER going to just send out “wall to wall” footage again.
Doing that is like doing an outline before you start writing. It focuses your attention. It also starts your editing database. Which encourages the editor to “think” like FCP-X rather than continue to look at the editing process through the old “build everything in the timeline” traditions.
I think that’s very useful. But YMMV.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Bill Davis] ”
It’s so astonishingly easy to “red-x” ranges of your clips in X and achieve a very rough “first cleanup” (kinda a stage prior to SELECTS) and start building your initial database with EXCLUSION ranges – that I don’t think I’m EVER going to just send out “wall to wall” footage again.”Bill,
I agree with what you are saying. I usually use keywords and/or favorites to pare down the footage and shape the story, but in this scenario, the content is rather technical and the experts are picking out the content they need. I need to find an efficient way of pulling out their selects.
Jason Jenkins
Flowmotion Media
Video production… with style! -
This may work: put the raw footage in a compound clip in an event, follow your same process. Once you have the edit list back skim through the event marking those ranges as favorites. Select favorites, paste into a project. Break apart compound clips to get back to raw footage.
IMHO Apple should add the event browser functionality to the project library, and projects should be able to contain more than one sequence without nesting.
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meant to say: “skim through the clip in the event browser”
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What Rob says. Do all this prep in the Event in a compound that is “open in timeline”ed.
Search this forum for the free tc reader, not generator, or publish one from Motion. This way the tc is absolute, instead of relative to the timeline and the changes within.
It’s more efficient (I find it to be anyway) and leave the Project for editing, not the prep. The event is well suited for that.
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[Jeremy Garchow] “What Rob says. Do all this prep in the Event in a compound that is “open in timeline”ed.”
Thanks, guys! I’ll be testing this out…
Jason Jenkins
Flowmotion Media
Video production… with style!
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