Andy Neil
Forum Replies Created
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[Jason Brown] “Also the keyboard shortcut only works after u click on the line (which if u arent careful can change the level)”
Which is why I OPT+click the line to set keyframes. You don’t have to worry about accidentally adjusting the level.
Andy
https://www.timesavertutorials.com
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If you’re talking about something like automation gain, then no. There is no realtime playback of the sequence and recording of keyframes.
However, keyframes can be quickly added by simply selecting a range in your audio and then dragging up or down to adjust the volume of that range. FCPX will automatically create 4 keyframes and you can adjust them manually after as well.
you can also option click the volume line to add keyframes.
Andy
https://www.timesavertutorials.com
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Actually I think the kids would say something like, “Hey who’s that old dude with the guitar?”
Andy
https://www.timesavertutorials.com
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[David Lawrence] “I agree with everything you’ve said about Favorites and persistent in/outs. I think we’re really talking about two entirely separate issues. I think we’re both right. Functionality vs intentionality.”
Personally, I think we could probably all agree that it would be beneficial for FCPX to remember the IN/OUT ranges of each individual clip. There would be no harm to those who are currently not bothered by how they disappear, and yet it would be a tremendous help to those (like myself) who would find a use for it.
I use favorites a lot. They’re great. But they’re not the reason I have an issue with IN/OUT ranges disappearing. In FCP7, if I’ve been scrubbing through a clip (particularly if it’s a long one) and I find a shot I want, I mark an IN/OUT and edit it into the timeline. Then, let’s say, I go to another clip for another shot, and then come back to my first clip. I can hit play and the clip’s playhead picks up where it left off (at the OUT point).
If I attempt the same move in X, the playhead defaults to the beginning of the clip every time. There isn’t even an easy way to activate the range for a favorite so I can use the SHIFT+O to jump to the end of the favorite.
It would be real nice if there wasn’t just a “reset to start” for every activated clip.
Mi dos pesetas.
Andy
https://www.timesavertutorials.com
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[Oliver Peters] “Ironically I never edited this way until FCP. When I first started with NLEs (Avid), I’d come from years of linear. So, my Avid timelines were always only with clips on V1… It’s funny that X has put us back into a mindset that seems somewhat reminiscent of what we did 25+ years ago”
I was brought up the same way Oliver. I hadn’t thought along those lines, but there does seem to be a correlation. Back in those days, I was working on Avid Newscutter which only had 3 usable video tracks to begin with so V1 was pretty much used for everything.
[Brett Williams]“Wouldnt putting it I the primary overwrite the interview visual? Or are people saying put the interview UNDER the primary, making IT connected to the broll?”
What I was specifically saying was not to edit broll as a connected clip simply because it’s broll. Of course a cover shot would be edited as a connected clip if there was already a sound bite in the primary, but for the sections of the video (as outlined in the OP) where it was just broll over music, I would edit the broll into the primary storyline. The music in the example would be either as a connected clip, or secondary storyline (depending on the amount of music editing which was necessary. What you would be left with is a filled primary storyline with a few connected clips over long sound bites, and a secondary storyline holding the music similar to this mock up I’ve made.
In this example, the clips in the primary storyline with embedded audio are the soundbites. Mixed in there are broll clips with no audio, and also a few connected clips of broll where needed. The music was edited in a secondary storyline.
Andy
https://www.timesavertutorials.com
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[Jason Brown] “there are only 2 ways to rate a clip – favorite (range or entire clip) or reject. Right?”
That’s correct. In FCPX, Reject and Favorite are the only two possible “ratings.”
Andy
https://www.timesavertutorials.com
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There are certainly some issues that make editing this in X more difficult, but there are certain things I would do to make it easier.
First of all, I wouldn’t edit the broll as connected clips. They would be in the primary storyline along with the bites. The only connected clips would be any clips that were used to cover part of the bite. If I had to swap sound bites around in my sequence, the only broll shots I would have to worry about would be the ones attached to the bite, and since often those shots are related directly to what was being said in the bite, chances are I would want them to travel with the bite anyway. If not, well, then I would temporarily compound the connected clips and slide them off the clip I was moving. Make the change and then slide the compound back and break it up.
For music, I’d be tempted to use a secondary storyline depending on how much music editing was required. The secondary storyline gives me the maximum flexibility for that. If I had to change the music, I’d create another secondary storyline to cut that music and just disable or delete the previous music. However, re-editing the broll segments would be easy because they would be in the primary storyline.
One of the workflows that editors use in a track system that is hardest to drop in X, is the notion that soundbites need to be in track 1, and broll shots in track 2. We do this in track systems because it makes it easier to keep track of things, and to make changes to bites. In X, it’s actually easier NOT to do things this way because of the nature of connected clips.
That doesn’t mean some changes might not require extra work, but it doesn’t seem all that more difficult to me than editing in a track based NLE.
Andy
https://www.timesavertutorials.com
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Well, most of my tricks and tips I put in my various tutorials, but one thing I do when organizing clips into collections before editing is I set my event browser to No Ratings or Keywords (CTRL+X). That way, when I assign a clip to a keyword collection, it disappears from my event browser. I keep organizing until all my clips are gone. That’s when I know that everything is properly organized and I switch back to Hide Rejected or All Clips.
Also, I remapped all my play keys, IN/OUT keys, Insert/Overwrite/Connected and Tops/Tails keys to the the 9-key num pad. It’s great for stringouts and rough cutting. I barely use a mouse.
Andy
https://www.timesavertutorials.com
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Bill, if you looked at what the OP wrote:
[Thoreau Bakker] ” I have loaded the .wav as the main story line, and manually synched and stacked all 3 takes on top of the audio.
I’m using the marker and blade tools to make slices in the top two video channels (audio muted), and pulling out bits to reveal the shots underneath.
“You can see that he’s already stacked these different takes on top of each other as if they were three cameras in the same performance. He’s essentially making a ghetto multiclip. I’m just suggesting that he make an ACTUAL multiclip and save himself some trouble.
It doesn’t matter if the clips are of different takes or not As long as you can sync them to one track of music, then you’re fine.
Heck, you can even cut up a take and spread it out over a single angle to account for differences in performance.
Multiclip editing is still the easiest way to do this.
Andy
https://www.timesavertutorials.com
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About 75 percent of the work I used “Send To” for can be accomplished by creating effects, transitions, generators or titles in Motion and publishing to FCPX. For the other 25 percent, it can be a little difficult.
I’m holding out hope that, like multicam, this will be one of those features can gets added back in.
Andy
https://www.timesavertutorials.com
