Andy Neil
Forum Replies Created
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[Bret Williams] “Avid takes it one step further and if you have sync locks on, and try to ripple an in-out area, it will litterally slice through tracks you didn’t want to ripple to preserve sync. “
It’s ironic that you mention Avid because in Media Composer the default configuration is to have sync locks turned off.
I agree with you about preserving broll cut to music or VO. I wish the “override clip connections” command were a toggle rather than a hold down shortcut, which would solve that problem nicely.
Andy
https://www.timesavertutorials.com
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[Bret Williams] “I would have to disagree and say that FCP X is the most prone NLE there ever was to screwing up a project. “
I have to say, I feel like you’re mis-representing FCPX quite a bit, Bret. First of all you talk about all the limiations X has with regards to moving and deleting clips, and then mention in the subsequent paragraph that there are simple keystroke actions to prevent those problems. It’s like you’re saying, “FCPX has all these problems but really they don’t so nevermind.”
Just because the default behavior has been flipped does not make the program more prone to sync issues. You just have to learn to use it that way. In fact, in my editing, it’s rarer that I want to delete a clip and leave a gap than want to close that gap. So to me, X’s default behavior makes perfect sense.
And while I don’t think anyone will argue that it’s a good idea that FCPX doesn’t have sync indicators, you’re being a bit insincere about FCPX’s ability to maintain sync. The article was clearly talking about how since video and audio are married as a single clip, you don’t have to worry about losing sync, and that’s completely true. Sync issues are even less of a problem now with 10.0.06 because you can edit and keyframe individual channels of audio without detaching.
Andy
https://www.timesavertutorials.com
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After exploring this a bit, and reading the other solutions in this thread, I’ve decided that it makes sense for an enhancement to the meta-data structure. I think it would very helpful to allow partial clips like keyworded selections to have independently adjustable meta fields. At least fields which make sense like Shot/Take, Notes, and others.
I would propose it works like this:
If you assign values to those fields on the master clip, then those values are transferred over to any keyword selections as you make them. For example, you injest CLIP001 int FCPX. You label the Reel field as REEL01. Then you make keyword selections of the different takes. All those selections will have REEL01 in their respective Reel field.
But, once the keyword selection has been created, you can change a field to something else (including the NAME field) and it doesn’t ripple the change to all the other selections and the master clip. So now you can have one keyword selection with Scene – 01, Shot/Take – 2a and another from the same master with Scene – 01, Shot/Take – 2b.
Then you only need a Show Master clip shortcut for any keyframed selections. Or better yet, you have a field that is populated by the actual master clip name (unchangeable), and then you have another name field that can be adjusted to whatever you want. Or both things.
This would be a nice, elegant solution I think and would make the meta-fields more powerful.
Andy
https://www.timesavertutorials.com
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[Michael Garber] “there are multiple clips for each scene (and not 1 clip per scene).”
[Michael Garber] “That means that I’d have to make new keywords for each clip and couldn’t use the standard 1, 2, 3. So the first clip would be Scene 101 and the keywords would be Take 1a, 1b, 1c. The second clip would be Scene 101 Take 2a, 2b, 2c, etc… By the end of the scene, I’d have over 50 separate takes (and thus 50 keywords).”
Actually, this method will still work, with only a minor change. You won’t need 50 different keywords because you can tag a single selection with multiple keywords.
Go back to your keyboard editor and give over a few of the shortcuts to keywords “a, b, c, ect.” like I have below.
Then, select your take and apply both the take number (take 01, 02…) and the sub take letter (a, b, c…) to the same selection. Then just modify your SCENE 01 smart collection to take the new letter keywords into consideration.
Now, all the clips which are meta tagged 01, and have any keyword applied will show up in that smart collection. One thing that may be confusing is that you’ll be working solely from the smart collections. The regular keyword collections are only for organization purposes and are unneeded. This is because they will store every Take 01, Take 02 for every scene. If you ever need to find all the first takes, this could be useful, but in all likelyhood, you won’t be organizing your edit that way. So because of that, I placed all the keyword collections into a folder called takes which I can close up to tidy up my event browser. Below you can see all the clips in my SCENE 01 smart collection. Note at the bottom that there is more than one source clip in this collection. You said that you had multiple clips for one scene. Well, I just meta-tagged the additional clip with scene 01 in the inspector, so when I started making my selects, the smart collection just gathered those takes as well.
I hope this helps.
Andy
https://www.timesavertutorials.com
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Going under the assumption that each long clip is a single scene, here’s how I might go about it. First I’d open the keyword editor (CMD+K) and create a keyword for each take in the shortcuts area like so:
Then in the event browser, you can meta-tag each clip with whatever scene it represents using the Scene column in the metadata. For example clip MVI_8082 is a long clip containing several takes in Scene 01 so you tag the clip as 01 in the Scene field. In fact you can pre-tag all your long clips with the proper scene before you get going.
Then scrub through your clip, mark IN/OUT for take 01, and hit CTL+1 to keyword tag it as Take 01. Then find your next take and hit CTL+2 to tag it as Take 02, etc. When the whole clip is tagged, create a smart collection using the search function and the following criteria:
This will return results for all takes in Scene 01. Label the smart collection: SCENE 01. In fact, you can make the smart collections ahead of time and they will populate as you mark and tag your clips. The keyword collections can also be put aside in a folder if you want to keep them out of the way of your smart collections like this:
I hope that doesn’t sound too complicated. It’s actually very easy and can be set up in about 5 minutes and then all you have to do is mark INs and OUTs and use shortcut keys to tag the clips.
Andy
https://www.timesavertutorials.com
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This is still one of my favorite videos on the internet. It’s the voice over that makes it.
Andy
https://www.timesavertutorials.com
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It’s funny because pretty much every NLE out there has their share of cheesy transitions. I honestly don’t know who uses them.
Although I’ve used the page wipe transition ironically before…
Andy
https://www.timesavertutorials.com
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[Juan Luis Lopez Fons] “The problem is that when I close the Angle editor and return to edit my multicam clip, all the footage after all 3 cameras break is out of sync. When I return to the angle viewer to check sync, all the footage from the 3 cameras after the break IS in sync.”
If the video is showing in sync in the angle editor but out of sync in the timeline, then this sounds like a bug or corruption of your multiclip. Here’s how I’d try to diagnose:
First of all, is there anything special about the audio tracks? Are they 16 bit or 24 bit? What about the audio of your camera angles?
Also, does your project match the video/audio settings of your multiclip?
Secondly, I would try rebuilding the muliclip in the hopes that there’s some corruption with the one I initially made.
I’d try an export of the area in the timeline that’s showing out of sync to verify that it’s actually out of sync and not just a delay playing back the video or audio in FCPX.
I might trash my preferences to see if there’s some glitch or bug that can be resolved this way.
I might take the audio clip and break it into smaller clips or convert it to the same or other format (basically create new media) and try to rebuild the multiclip.
Last resort, I might delete FCPX and reinstall it.
Your problem, by the way you described it, doesn’t sound like operator error or you not understanding how multiclips work. If the clip is in sync in the angle editor, it should be in sync when edited into the timeline.
Andy
https://www.timesavertutorials.com
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[Megan Brown] “So, if you put a cross dissolve between two pieces of video, it should automatically continue the motion during the cross dissolve?”
I tested with the basic cross dissolve and it did exactly that. However, some transitions are actually Motion projects (unlike the basic dissolve), and I’ve noticed unpredictable behavior when using those transitions with other FX in FCPX.
Andy
https://www.timesavertutorials.com
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What version are you using? It sounds like you might have some kind of bug. I just tested on my laptop and confirmed that the animation continues into the dissolve.
Are you using the basic dissolve or some other specific transition? If specific, what’s it called? Some transitions are motion projects and by their nature may have strange results when combining keyframed effects in X.
A potential work around could be to place the outgoing clip as a connected clip and then extend it over the incoming clip and use the opacity slider to do the fade out.
Andy
https://www.timesavertutorials.com
