[Andy Neil]

Here’s what I’d try.

Open up your compound clip so you can view all the clips. Select time where all the tracks are visible and add a marker to all the tracks. This way if they get out of sync when transferring to your multi clip, you’ll be able to resync them without issue.

Copy one angle (cmd+c). Select any clip in your event browser, right click and create a multi clip. You can’t create an empty multi clip but you can make one from a single clip. Open the multi clip in the angle viewer. Delete the angle that you used to create the multi clip. Paste the copied clip into the angle. Add a new angle. Go back to your compound and copy / paste each angle into the multi clip. Make sure that the markers line up.

Hope this helps.

Andy

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

[Andy Neil]

[Craig Alan] “Is there anyway of keeping the playhead centered as the sequence is played back without zooming out of the timeline to the point where I can’t see much detail?”

You’re talking about scrolling playback. FCP doesn’t have this and never has (even the old FCP). You can find it in Avid (for sure) and Premiere (I think), but to be honest, it’s really of limited use. It’s one of those features I always thought I wanted but couldn’t stand when I tried it.

Andy

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

[Andy Neil]

All kinds of reasons to do so. The keyframes don’t line up quite right but you don’t want to have to reposition each of them one at a time. Or you’ve copy/pasted a series of keyframes from one clip to another but the second clip is of a different length so you need to adjust the keyframes to match. You have a series of keyframes in the front of a clip that are two low, but the ones at the end of the same clip are the right level.

Those are just off the top of my head.

Andy

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

[Andy Neil]

[Craig Alan] “Not sure why if it’s highlighted you can’t just hit delete.”

Delete behavior had to change because Apple changed the behavior of the range select tool. Now when you use range select, you can lasso several keyframes at once in order to move or adjust them together. If you hit delete and it only deleted keyframes, it would prevent a user from using the range tool to trim clips in the timeline. Hence the need for a specific “delete keyframe” shortcut.

Andy

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

[Andy Neil]

Regarding your “apply effect” to text request. That’s one of those that I doubt will ever happen due to how Motion and FCPX interact with one another. However, you can customize some animation by using the basic title. And personally, I built a title effect in Motion that contains a drop down menu of my most used text animations so I can apply a single text element and animate it a number of ways. Might be an adequate solution.

Andy

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

[Andy Neil]

Can really disagree with what you have here except for a few that I think are unnecessary and a couple I think are extremely unlikely due to how the GUI is designed. So, I’ll add a couple that I’d like to see as well.

Proper playhead to playhead replace edit.

Multi-tiered matchframe. IE: Matchframe a multiclip and it takes you to the multi clip in the browser. Matchframe from there and it takes you to the original source clip used in the multi clip. Same with compounds.

Sort by Unused clips.

When you clear an IN/OUT from a clip in the browser, I’d like the playhead position to NOT be reset to the beginning of the clip. If I want to start from the beginning, I’ll hit the HOME key.

Project scrubbing in the event browser.

Project to project editing. IE: project treated like a clip in the browser.

When a clip is selected (C) and you blade that clip, the clip to the RIGHT of the playhead should remain selected, not the LEFT. I don’t know what they were thinking with that.

Ability to put overlapping connected clips into a secondary storyline.

Andy

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

[Andy Neil]

Well, since Motion doesn’t have any volumetric lighting built in, you’d have to do it with shapes. Probably a few for each spot, using additive blends on them to give them a glow-like appearance

Andy

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

[Andy Neil]

What is the format of the original camera files that you imported? If the files are not ones that FCPX can play back natively, then they’ll require transcoding. However, if you properly indicated in the import dialogue that the files were to remain in place, the original files folder should contain sim links, not actual qts.

Andy

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

[Andy Neil]

I have the same Mac Pro you have. With the Radeon 5770 and 32 gb ram. I run FCP 7 on mountain lion and FCPX on a Mavericks partition. And it runs perfectly fine on my machine.

It’s not hard to create a bootable partition, you can do it from inside disk utility. I like to keep FCP 7 around because there are plenty of people still using it out there. But I haven’t needed to boot up Mountain lion in a while.

Andy

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

[Andy Neil]

[Tony Peck] “I don’t want to hear any complaints from the client. I want it to look as good as it can but still play back smoothly.”

Then you should find out what’s going to be used for playback. It’s the only way to be sure and to advise the client if they’re using an underpowered machine.

However, I make compressed H264s for companies all the time and have good results with 1080 at 5000kbps. H264 is pretty low bandwidth and plays on most machines easily.

Andy

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