[Alan Brunettin]

YES! Matchframe. Argh!

I spent how many years with FCPX–since “X” came out really–bemoaning the loss of real tracks and various other details, but I also felt there were a lot of things I liked about it. This was one. Select a subclip in the timeline hit the “F” key and up came in the project widow a graphical indication of where in a larger clip that selected subclip originated and it could be handled as an other clip selection made in that window. It was pretty handy.

Oh well. At least I can stop beating my head against a wall trying to find a nonexistent feature. Thanks!

[Alan Brunettin]

Well, firstly, I did what you said, Ht Davis, made a subclip, put it in the timeline and then double-clicked it, but it showed up in the the Source window in stand-alone form; not as a parent clip with that portion indicated.

Similarly, I opened the parent clip in the source window, did an in/out cut and put it into a timeline. I then double-clicked on that clip and that brought up the parent again with only in/out points marked; nothing was highlighted.

But I wonder if we’re mixing our terminology? When I say a subclip of a parent clip I’m merely referring to a shorter piece of a larger clip that itself is a portion of a long take. The long take being, say, a ten minute interview; the larger clip being a few sentences spoken; and the “subclip” being a statement culled from those sentences. It’s just an edit. No need o create with a menu selection a “Subclip.” Ans what I want to be able to do is find that segment I’m calling a subclip within a larger clip in order to reuse it or replace it in the timeline or whatever. FCPX was far more intuitive with this action.

Is this making any sense?

[Alan Brunettin]

Hmm…well thanks for your detailed response but if not sure we’re talking about the same thing

I get the part about the clip being referring files but…hmm…well, let me approach it from a different direction:

I was given a drive with footage. I started the project not knowing I was going to have to give up the drive before I was finished with the footage. So I copied everything from the drive onto my machine, retaining all the directory parameters and started working from my hard drive. After a brief hiccup in re linking media everything fell into place except for two pesky sub clips that refused to give up the ghost and maintained that annoying crosshatching.

So what I wanted to do was find the clips within the parent clip and replace from that. But without timecode I can’t find the material in the parent. What did confuse me in your reply was the part about Creating sub lips from the source. I actually thought I was doing that.

ab

[Alan Brunettin]

Yes it is amazing how that works, and from what I’ve read elsewhere, no one seems to understand why or why it’s not generally known.(although I have a feeling the word’s getting out)

However, while that problem is solved it remains, apparently, impossible to at the same time affect an ease in/out as would be most preferable in such a move. One can still access handles at the keyframe but those are solely for directing a path and do nothing to slow down entree/exit from a given keyframe.

Are we doomed to a black and white situation: either we accept that goof-ball s-curve or we’re stuck with jarring starts and stops of a still’s motion?

[Alan Brunettin]

I can’t believe this. I have been driving myself nuts trying to get a linear move without that goofball s-curve even though all keyframes were set to linear. I stumbled upon this thread and saw the on/off workaround on path points between keyframes and was utterly skeptical. But I just tried it on my latest bothersome move AND IT WORKED! I have no idea how you figured that out but I am crazy glad you did. Thanks!

[Alan Brunettin]

Okay, I wasn’t going to take this any further but I need to point out something that somehow seems to have been missed here.

Your last reply conveys implications of things I asked/said that I never asked/said. Things such as “If someone has informed you that that firewire is the answer – they are wrong.” (never said that) and “…you don’t need AJA equipment. If you want to buy it …” (never said I wanted to) Or you say: “Working with firewire is ok, but if you do this for a living…” (well, remember what I said about being an amateur? Fine, when I go pro, I’ll know to get the proper hardware.) So maybe I do follow up with something like “well, why isn’t firewire the answer – it’s all digital, and you can get converters for anything to firewire” as you hypothetically ask for me. You make it sound as though I’m challenging you when all I’m doing is trying to get information.

All I wanted was a brief overview, just a clue as to the operation of such hardware and what their purpose is. Nothing more. I made no assertions that I had preconceived notions regarding these products or what their uses were. That’s what I had come to you all for, yes? What I was looking for was this that I received from another forum:

“The short version is that DV is already compressed. It’s compressed in the camera 5:1 when you shoot it. The bit for bit ingest you do through firewire doesn’t add any more compression to it, but it’s still compressed 5:1 because that’s where you started.

A capture card that can handle real uncompressed can handle at least 80% more information than your original DV footage has. These are for folks who are working in formats that are lightly compressed, like DigiBeta, all the way up to uncompressed HD formats.”

That was their complete reply (except for a follow-up with some helpful links for me to go to for more research). It answered just what I asked and it has given me the kernel of knowledge I needed and a direction to proceed in doing the research and self-education I need to do. Until I was given that very (very) basic knowledge I was completely rudderless. Now, you may take exception to that small kernel I was handed but at least it gave me parameters to follow on my own and did not reply to me as though they were someone born with this knowledge and why wasn’t I?

Good day to you all

ab

[Alan Brunettin]

Well that’s all well and good, but in this “too many things to have to know” atmosphere, I should think these forums are places to alleviate the burden of the enormity. While I’m sure you speak the truth about multiple formats and the obstacles they create for hopeful filmmakers, your pointing out that fact when a questioner is looking for nuts-and-bolts answers isn’t terribly helpful. In my ignorance I asked a simple straight-forward question and received little to work with–except, perhaps, peripherally.

I’m not going to beat this to death. I went elsewhere to another forum and was given a concise answer to my question without a hint of editorializing. I was under the impression Creative Cow was a place to go to for that sort of exchange of information.

ab

[Alan Brunettin]

I’m sorry. Forgive me if I am being overly sensitive but I’m sitting here wondering if I am being talked down to but can’t be sure.

Am I supposed to know who John Apt is? It sounded as though I should, somehow, so I even went so far as to Google the name. With nearly 0 hits, I have to wonder. Sounds like an inside joke I’m supposed to be in on…or not.

Sorry if I’m asking such stupid questions folks. I don’t know if I am a “serious amateur” or not. Just seemed like a convenient label to assign myelf so people would know not to snear at me for not knowing everything on the subject. Believe me, I’m not working on “family videos.” I’m not even doing weddings. I haven’t made any money at it so that makes me an amateur, yes? But I am serious about it, so… For your information I am looking towards documentaries; even have a subject lined up. I’m just here trying to get information like everyone else.

Again, if I did misread your reply and you were, in fact, NOT being a snide pissant, I apologize.

ab

[Alan Brunettin]

Interesting. Your reply begs some questions:

–You say firewire can “frustrate” pros, Why is that?
–if these VTRs don’t have firewire interface what connects them to the CPU?
–also, re the previous response, I was under the impression that DV in was DV out; i.e. no compression. But I’m reading things about special cards and boxes such as the AJA Io that capture “uncompressed.” Could you clear up that disconnect for me?

I have my eye on a Panasonic DV deck that has firewire i/o as well as S-video and some other type that I can’t recall. Is there anything more a “serious amateur” would need beyond that?

Thanks for your help

ab

[Alan Brunettin]

Interesting. I continue to be amazed at certain simplicities within this incredibly complex program.

On the same issue, you raise another question vis a vis nested sequences and the available controls at the either ends of combined sequences. In my curious nascence, I just dragged the icon for my sequence #2 from the browser and laid it over the timeline at the end of my sequence #1. To my ignorant amazement, it did indeed lay down sequence #2 in an apparent nested form, as there were no separate clips in evidence.

Would this in fact be an option? Did I inadvertantly create a nested sequence? Since I immediately undid that action, I didn’t notice: would there be any end controls available to me–other than a fade–if I were to take this approach in combining sequences?

Thanks

alan b