Andy Neil
Forum Replies Created
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Well, your first problem can be solved by creating a preset for the color correction. Do the color to the first clip, and then at the bottom of any of the color windows is a gear. Click on it and save the preset. Then select your next clip and apply the preset.
Unfortunately, the presets can only be applied one at a time. Which is why if you’re applying it to lots of clips, like your second example, I might be more inclined to create a vignette title effect in Motion and apply it as a connected clip over all the clips you need, kind of like an adjustment layer.
Andy
https://www.timesavertutorials.com
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Professionally speaking, I think it’s important to learn at least those three and be familiar with any others you may come across. Personally, I dislike the Premiere UI, but I know how to use it. I don’t get much work from it, but I like to be prepared in case something comes around. As a freelancer, the only time I want to say no to a job is when I’m too busy.
Avid has changed a few things in it’s interface but it really hasn’t changed enough that you can’t become comfortable with it in a few days. It’s Avid’s greatest strength as well as its greatest weakness.
FCPX is quite different from FCP7, but not all that hard to learn IMO. I haven’t seen it implemented at any place I’ve worked, but have used it for jobs (from home).
Andy
https://www.timesavertutorials.com
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[Jeremy Garchow] “The only timeline codecs available to FCPX are several favors of ProRes and uncompressed 10bit.”
Actually Jeremy, that’s not true. You can export out in DVCPRO HD, HDV, XDCAM EX and XDCAM HD if you’re working in an HD sequence. If working in standard def, you can export DV, DVCPRO 50, and IMX.
That’s in addition to H264. Uncompressed and ProRes. Basically, if it’s a codec that FCPX can handle natively, then it can export it natively.
If you use “current settings” in the export dialogue however, you will always end up with a ProRes clip. But just select the drop down and below the main settings are the additional settings you can use.
Andy
https://www.timesavertutorials.com
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What you’re specifically asking for is not possible in FCPX. I hope they implement a version of the paste attributes dialogue from FCP7 at some point, but for now, all we have is what you know.
However, if you need to copy a single specific effect onto several clips, there are ways to do that quickly. What specific effect are you trying to manage?
Andy
https://www.timesavertutorials.com
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[Ken Evans] “what happened to copy and paste attributes?”
It exists only in the manner that you discovered. In other words it copies and pastes everything. Not only filters, but keyframed effects (like audio adjustments). Many people (myself included) hope that a more FCP 7 version of the feature will be implemented soon. But in the meantime, what you can do is turn off filters on the clip you copy that you DON’T want to paste. Then when you paste attributes, those filters will be pasted, but turned off. It’s an imperfect solution, but all we have for this feature.
[Ken Evans] “terminology has changed. (Scrubbing is now skimming apparently)”
Well, skimming is a little different than scrubbing since scrubbing required you to click and drag on the mouse where skimming is performed merely by hovering over a point. But you’re right, a lot of terminology has changed. Sequence is now project. Project is now Event. Bin is now collection. Those are the big three that confuse people, but most people on the forum here understand what you mean if you say “bin” when talking about FCPX.
[Ken Evans] “it’s very difficult to be zoomed out to see them all and also be able to see exactly what you’re selecting when the edits are very small – and I want to move some to the right. Are you saying that ‘create a gap’ is the new track select?”
Not exactly, but if all you want to do is track select forward and move clips to the right, then yes, I would use the insert gap for short moves. But there’s another technique that works almost as well as a track forward select tool. Open your timeline index (CMD+SHIFT+2). There you’ll see a list of every clip in your timeline. There will also be a pointer line showing you at exactly which clip the playhead is nearest. Select that clip, scroll down to the bottom of your list, and hold SHIFT and select the last clip. This will select all clips forward of the playhead in your project without you needing to zoom out. Then you can just activate the position tool (P) and move the clips as you like.
[Ken Evans] “How does this impact on other tracks?”
The “insert gap” inserts the gap into the primary storyline (or selected secondary storyline). Since all clips are connected in one way or another to that storyline, everything will ripple.
[Ken Evans] “how do you lock tracks, for example to lock an audio track down in a music video edit?”
FCPX doesn’t really have tracks as you understand them (except for perhaps the primary storyline). You can’t lock any storyline or clip in time. If you’re cutting a music video, you have two basic choices. Place the music in the primary storyline and cut all the video elements as connected clips. Or you can place the music into a secondary storyline, and cut all the video elements into the primary.
Hope this helps.
Andy
https://www.timesavertutorials.com
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You do have control over how you manage your media. That’s what you’re doing when you suggest using folders and collections to organize it vs. having FCPX organize it for you via dates.
However, regarding your issue: I think the problem is that the conversion took place outside of FCP. What program did you use to convert the files? FCPX has an option where it will convert all your H264 files to ProRes Proxy from within the program in the background and then quietly swap footage out as it becomes available.
Chances are, whatever program you used rewrote the Creation Date metadata as it was creating new media.
I don’t know if this will work, but you might try tricking FCPX into thinking it converted the media itself. Start a new event. Import all your footage in its original format (this may only work for the DSLR and P2 footage). Make sure that Optimized Media and Proxy Media are off in the import dialogue. In your event folder, find or create a folder called Transcoded Media. Inside there, create a folder called Proxy Media. Place all your proxy clips into that folder. Back in FCPX, go to your preferences and switch to Proxy Media in your playback settings. See if it links to your proxy media. Worth a shot.
Andy
https://www.timesavertutorials.com
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[Ken Evans] “Is there any wireframe option when you have 1 clip overlaying another? Are we forced to use those nasty positioning numerical sliders in the transform box? I just want to simply shrink and drag to create a basic PIP but it seems painfully awkward.”
Yes. In the bottom left corner of the viewer is the transform tool. Click it and then you can shrink, rotate and distort your clip to your hearts content. Then when finished, there is a blue “done” button in the upper right. Click it to finish.
For your second question, I would recommend watching my tutorial on the difference between storylines, compounds and connected clips. It explains how they work, how they’re created. It may clear things up for you. It’s a two parter.
FCPX INs and OUTs-Storylines, Compounds, and Connected Clips Pt. 1
FCPX INs and OUTs-Storylines, Compounds, and Connected Clips Pt. 2
Not sure what’s happening with your third problem although it sounds like you’re doing something to add transitions to both ends of a clip instead of just one edit point. One method that might fix that for you is to select an edit point with the arrow tool and then double-click the transition in the Effects Browser instead of trying to drag it.
Hope this helps.
Andy
https://www.timesavertutorials.com
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[Michael Gissing] “So do you guys want audio tracks or not. We seem to go around in circles about the best way to visualise and control elements in a timeline.”
I not interested in traditional audio tracks in FCPX. The majority of the time the current paradigm works for me. However, that isn’t to say that it can’t be improved upon. It’s especially important considering multicam workflows.
Andy
https://www.timesavertutorials.com
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[Mark Morache] “That’s not a bad idea. I use “open in timeline” as a step-in feature, and it mostly works.”
Except with a multiclip, you have to open the clip in the angle editor and then open the angle in timeline mode. By the time you get there, you are no longer at the spot where the clip you wanted to affect is; you have the entire clip to deal with. This makes things like adjusting independent tracks at certain points all but impossible.
[Mark Morache] “Would you still be able to make changes to audio tracks as one? For example if I expanded the audio to create a J-cut, would I need to make adjustments to all the tracks separately?”
In my version of this feature, OPT+double clicking would give you the behavior we have now by double-clicking. The single embedded audio clip still has uses, I just don’t think it should be default.
Andy
https://www.timesavertutorials.com
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I’m going to second your number 2 and 3. Although instead of IN/OUT points, I’d prefer something similar to Premiere’s “work area” idea. I think it’d fit better with how X is designed.
My big one has to be with audio handling. This is particularly important now that multicam has been introduced. Often times in multicam workflows, you’re dealing with upwards of 8-20 discrete audio tracks (especially in reality tv). I don’t have a problem with them being synced and embedded in a video angle, but there NEEDS to be an easy way to get to the individual audio layers to make adjustments, or silence the unneeded tracks.
My proposal is for a “step in” feature where if you double click a clip with embedded audio that it expands to show you ALL individual audio tracks allowing you to easily make keyframe adjustments or trims to layers. Then when you escape out, it closes back up again. In this mode, you won’t be able to affect the audio track’s position (FCP will still keep the sync), but you can make all other audio edits to it.
Andy
https://www.timesavertutorials.com