[Andy Neil]

[Adam Berch] “Does a Compound Clip play better or smoother in a a timeline than a non-compounded clip?”

Neither. In the early days, edits within compound clips could cause the project file to balloon in size (even add edits) which in turn, could cause playback issues. These days however, I think they’ve fixed a lot of those performance issues. Compounds are used to combine elements for ease of use (like a multilayered sfx that you want to use in more than one place).

[Adam Berch] “If I make a Compound Clip from clips that have effects on them and I have not rendered them yet, and take that Compound Clip and Copy and Paste it onto another timeline, will that Compound Clip render all of the effects?”

No. Effects remain unrendered until you render them or allow background rendering to happen. Even effects inside compounds.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Because the presumption was that the clips were already edited into the timeline. If you know you’re only using the audio from a video clip, sure it makes sense to turn off the video targeting, but if you decide later that you don’t want the video, then this doesn’t help much. Unless you use it with match frame and replace.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

AJA does as well. Works pretty good too.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Bret’s idea is best in case you need to bring back the video at some point, but to do exactly what you’re asking…

Select clip and hit CTL+SHIFT+S to disconnect the audio from the video. Or you can right-click the clip and do the same. Then with the video clip selected, hit SHIFT+DEL. This deletes the video clip and leaves a gap in it’s place.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

There are currently very limited options for the UI layout, mostly just single and double monitors. However, I might be able to help you a bit with your mouse clicking.

You can assign keyboard shortcuts to next and previous tab in the inspector. Just open up the custom keyboard controls (CMD+OPT+K). Then type “inspector” in the search bar. Find the Next/Previous tab key and assign your preferred shortcut.

The Inspector has to be active for the shortcut to work, but you can make it active with CMD+OPT+4.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

[Shawn Miller] “That is now officially my second favorite video about 3D rendering…. following slightly behind this classic:
“

Well, I didn’t understand any of it, but it sure was entertaining.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Double click the edit point to open up the precision editor. Verify that you have enough frames on BOTH sides of the transition. Try to grab the end of the transition and manually make it bigger. Also, what is the frame rate of the project?

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

To answer your first question, I’m not sure there is a “name” for what you’re describing as suggested by your example. In sheet music, if you gradually increase the tempo of a song it’s called Accelerando or Accel, but I listened to the example, and the tempo isn’t changing. They’re just increasing the number of accent beats. An example of Accelerando would be like how some Greek or Russian folk tunes start speeding up at the end, getting faster and faster. What you have is more of an example of an electronic drum fill.

As for your second question. There are a couple things you could do. If you have the two shots as separate clips in the browser, you can set an IN and OUT on both clips equivalent to the beat you’re cutting to. Then select both clips and insert into your timeline repeatedly until the beat accents get faster. Adjust the IN/OUTs and do same. Evenetually, the IN/OUT on both clips will only be 1 frame long (the smallest increment you can cut with) and you can keep cutting that in until your break.

If your accent speed changes are mathematically double, you can make the changes in IN/OUT easily. If you start with 12 frame shots, then 6 frames, then 3, then 1.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

As Oliver said, it’s going to be difficult because there are plenty of edits in X that are not compatible with Avid. Connected and appended edits do not exist in Avid, and track patching doesn’t exist in FCPX.

However, you can get a few key ones down that might make the switching curve easier. If you’re right handed, and use E and R for IN/OUT, you can map those easily enough. Make V Insert, and B overwrite. For Connect, make it SHIFT+V and Append can be SHIFT+B. Then at least the majority of your edit functions are on keys you’re used to hitting. Personally, I almost never use overwrite on FCPX so I’d probably make B=connected, but YMMV.

Remap zoom in/out to the pg up and down. There’s no toggle between source and sequence monitors because there’s only one monitor, but you can make the ESC key into a shortcut for the event browser so you can jump back to your clips after messing around in your timeline. You can move the Select Edges shortcuts so they’re at P [ and ] instead of [ ] and \.

And though there’s not a “trim mode” like in Avid, you could map U to the Precision Editor and trim that way.

Wherever your special shortcuts for things like matchframe and such, just map them to the same place in X. That’ll get you some of the way there.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Can I just ask why anybody would think that knob icons are a good idea anymore? I hate them so much. Using a tablet and pen, I never get useful control over things like pan with those godforsaken knobs. Terrible skeuomorphism.

Andy

https://plus.google.com/u/0/107277729326633563425/videos