Brett Sherman
Forum Replies Created
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Finding footage is sooo much faster. I tend to edit 5 minute videos out of hours of material. Since this is where I spend the bulk of my time when editing it speeds up the entire process.
Why is it faster at this? The way it handles thumbnails, skimming, the filmstrip view, speed of the interface – all these combine to speed up the finding that needle in the haystack.
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You’re right I was using Multi-pass. When I turn multi-pass off Compressor is 25% longer time. However, the quality is MUCH, MUCH worse than Turbo.264. They aren’t even in the same ballpark. I’m still puzzled as to why Apple can’t make a decent H.264 encoder.
As of now, nothing beats the time/quality balance of Turbo.264 in my book. Come on Apple and Telestream, try a little harder.
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A few things to try.
Does it happen if you play it back in the import window in FCP X from the camera card? Does it happen if you play in VLC directly off the camera card?
Possibly weird phase issue. Does it happen if you disable one of the audio tracks?
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Aaron’s suggestion works for me in my particular case as a kludge.
And the tutorial is quite useful. However, in my situation it doesn’t do the right thing. I have a pre-rendered video background that I want to keep at a consistent speed, rather than have a build-in, build-out section. I still cannot figure out a way to have FCP X not speed up or slow down the background.
If you wanted both a consistent video background speed AND a build-in / build-out section, how would you accomplish this?
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This problem has also driven me nuts. I’m not sure what you mean by publishing the in-out settings.
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What happens when you play the file back using another player like VLC?
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If it sounds fine in camera, then likely you are overdriving your monitor chain somewhere. Without knowing what your speaker/audio setup is, it’s impossible to know.
As far as levels go, different meters have different ballistics. So because two show different levels does not mean they are inaccurate. They have different ways of averaging levels and how quickly they respond to peaking. You really have to get to know your meters.
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[Herb Sevush] “Any NLE can show different clip versions of the same length by stacking the clips above each other and activating them as needed.”
Well, only if make the Ins and Outs of the new clip identical to the one you’re placing over. That’s my point, it’s needless labor. And that method ends up with a sloppy timeline. I don’t get why having the option for me to do what I want affects your ability to do what you want. Sort of like the classic argument against gay marriage.
And that’s not to say I wouldn’t want to use Auditioning where the clip length changes also. My point is in secondary timelines when you change the length of clip B, it changes the relationship of clips C-Z to the primary storyline. Sometimes that’s fine, sometimes it’s not.
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[Andreas Kiel] “A corrupted “CurrentVersion.xxxx” in most cases has nothing to do with the location where it is saved. But a disk might be bad and on a bad disk a sparsebundle (remember it’s a folder) will work as bad as any other folder.”
I don’t think that’s the case here. I’m not sure what the problem is exactly. But somehow my backup with sparse bundles is causing corruption in the event and project files. Not all the time, but enough to be a concern and not rely on.
For me, ProVersioner is a buggy mess right now. To the point that it is impossible to work with. I’m using Backups for Final Cut, but don’t like the laborious manual setup process. Can’t wait to try out X-Files Pro when it’s out of beta.
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This would be a great feature. When you’re dealing with secondary timelines, you almost always want the clip to stay the same length. This is the main reason why I rarely use auditions. There should be a “Add Audition From Start” option that would keep the clip length the same.