[Alban Egger]

I sometime shave the same problem. It occur random, not the same clips.
My workaround is to set In and Out points in the import window!

This is troublesome when you have dozens of clips, but the only way I found to force FCPX to reliably import the clips.

The other workaround is to have the original material in place. FCPX will point at the “card archive” even if the clip was not imported properly. This means double diskspace for the cards that didn´t work, but it works for me.

[Alban Egger]

Peter,
as always the same questions: time, hardware, diskspace.

Here´s how FCPX works:
– create the event on your mobile drive.
– when you import and have nothing selected then FCPX will reference the footage where it came from. Fast, uses no additional diskspace.
– there is always the option to “copy media into event” which simply will copy the original media into the event (“original media”). Same names, same size. And also an automatic backup!

– If your (older) machine can´t handle the codec: In that case it makes sense to transcode to Proxy or ProRes. In both cases FCPX will create new files within the event folder (in “transcoded media”)

My workflow is to COPY. It is an automatic backup and I put the drive with the original media somewhere else.

[Alban Egger]

Kevin,
I suggest you watch some training. Where you feel FCPX is limited is exactly where it is strong.

Auditions are very powerful to make different edits in one timeline.
Example: I have a spot that ends with …
a) a face
b) a family

there are also two versions of the brand´s corporate sound and 2 logos.

I take the face, connect the slogan and the sound in version 1.
Now I create an audition with the family shot, connect the other slogan and sound version.

When I change the Audition (I made myself a new keyboard short ( CTRL-OPT-leftarrow) I immediately change the connected clips also. So with one click I change the shot, the graphic and the sound of the ending. And that´s all in the timeline (“project”)

In other cases I would duplicate the Project and make changes there and as some already suggested, show the version on the project library level. Very slick and every client who sees that the first time is in awe.

Depending on how you different versions look I usually end up with a mix of projects, auditions and compound clips ( e.g. if the graphics are finalized). If you add the timeline item list (on the left bottom of the timeline) and the involved metadata and roles this can work even in very very large projects.

This beats anything I ever saw in other NLEs. So while it looks like a limited paradigm at first, it is extremely powerful and flexible.

[Alban Egger]

I also use these options often. Youtube or vimeo and the best is e-mail (for short projects).
It basically saves a step which you can use for other tasks.

If you want to edit on, you´ll have to “Send to Compressor” though, because these export options need FCPX to work.

[Alban Egger]

No, only the last 3. A workaround to get “anywhere” is copying the clip with the wanted settings and pasting right in front of the new one. then Allpying the color correction. Finally take the clip away again. In the magnetic timeline this is a matter of seconds.

[Alban Egger]

Just type in the same name to replace the Preset.

[Alban Egger]

[Jules bowman] “I don’t like it.

Magnetic trackless timeline is stupid. Renaming things is stupid. A project isn’t an event. No manual save is insane. This is not an upgrade to fcp7 which is how it was sold.

First of all they never sold it as an upgrade. They sold as “the new paradigm”. NEW!

Second: tracks are not smart, so trackless is not stupid. Trackless and magnetic are helpful. For some projects/workflows. To me actually in most situations.

I agree with the naming. A project is a project, not an event and a timeline is a timeline, not a project. That is annoying, but I can live with it and it is the same in Aperture, so I had it before.

The manual save is VERY helpful and a truly professional feature. I used the NLE FAST before (which was later turned into Avid Liquid) and it is still used by many broadcasters worldwide (those who are stuck in SD and satellite phone-links). It didn´t have manual save. One of my companies branches does Digital Signage and we use Harris´ Infocaster. Very professional tool. Has no manual save.

You don´t like it. Fine. But that does´t mean the program is stupid. It only has a different feature set, that apparently does´t appeal to you.

[Alban Egger]

Duncan,
go to “Commands” (below Preferences) and set a keyboard Shortcut for the command “Apply Color Correction”

There are three of them!!! Apply Color Correction from last clip, second last or third last. I have SHIFT-V, SHIFT-CMD-V and Shift-OPT-CMD-V.

[Alban Egger]

[quote]I know you can ‘paste attributes’ but this takes all filters, crop and mask, and unlike 7 you can’t choose. So making it simpler has made my job harder.[/quote]

but you can paste the color-correction alone with all masks, but without any other effects/scales etc.
It is in the Commandset, you need to make a keyboard-shortcut, because the command is not in the menu.

[Alban Egger]

Premiere is clearly not aimed at the Pro market anymore. I read something like a “rolling shutter filter”. I mean who would ever need something that is only needed for DSLR shooters and those with pre-2012 cameras as such.
It also only runs on the newest MacBooks with Lion; what should all the big houses with their old FCP7-Snow Leopard-boxes do now? They will have to move to AVID. What a joke.

****sarcasm off*****