[Brett Sherman]

That’s not the way End Offset works. End Offset essentially moves the end of the fade forward in the timeline. In other words, it’s how many frames before the end of the Behavior it actually ends.

I’ve tried to figure out a way to do what you want and haven’t yet been able to figure it out.

[Brett Sherman]

[Peter Downing] “Alternately if you double click on a drop zone in FCPX you should get handles to scale and move the drop zone…”

That’s really handy to know. But unfortunately doesn’t help with template development as the end user may be unaware of that function.

It is definitely gone in 5.4.1. It was there in 5.4. Hopefully it’s an oversight. I’ll probably try to go back to 5.4 if I can.

[Brett Sherman]

I forgot to mention that you’ll have to crop or mask the resulting ProRes file. Otherwise it’s going to show black in areas where you don’t have clips. So it’s best to work in blocks.

[Brett Sherman]

I had this exact scenario. I managed to muddle through it. I don’t think transcoding is going to get you very far. Because the cost of reducing decompression demands is increasing the disk throughput demand. Both are issues in this scenario. Resizing clips would help, but it would take a long, long time. And you’d be resizing sections of clips that you aren’t using.

Here’s what I did Compound groups of clips together. So line up 20 or 30 shots in your timeline. Select and right-click “Create Compound Clip.” Open the compound clip you just created. Export a Quicktime Movie (ProRes). Drag that resulting file to the top of your Compound. Then disable every other clip in the compound. Repeat with the remaining clips. This way your main timeline it is only playing the one clip.

If you want to re-render with full resolution. Disable the outputted ProRes files at the top of the Compound. And enable the individual files.

[Brett Sherman]

It sounds like you’re shooting Sony XAVC S? For me it used to be really laggy. Canon MP4s at 150mpbs were smooth though. It has gotten better with FCP X and OS X updates. So if you’re not updated to High Sierra, I’d consider doing that.

[Brett Sherman]

Yeah, Optical Flow is a buggy mess. Apple really needs to fix this. Just about every time I’ve had an issue with a timeline hanging, it’s because of Optical Flow. Retime, stabilization and the Flow transition all use it.

[Brett Sherman]

Thanks. I was just going by their diagrams and testing with the non-server version. I’ll give it a shot.

[Brett Sherman]

[Scott Witthaus] “We just got this from IT:

“On September 24th, Apple released their next operating system they call “Mojave”. Currently it does not meet VCU’s network security standards. It has already been confirmed that it breaks Sophos Antivirus and DDPE, and that’s just the beginning. There is also a Zero Day exploit discovered which can expose your personal data, an exploit which Apple has not yet patched.””

Most IT departments hate Macs. And actually don’t know much about them. I would take this with a grain of salt. That “Zero Day exploit” can only be taken advantage of if you manually install an app that uses itt. No it’s not great, but honestly you can install a virus on the PC pretty easily too.

This is why our communications department bypasses the IT department and hires our own Mac consultant. That being said there are many reasons to wait at least a month or so before jumping in.

[Brett Sherman]

This has me really interested now. The combination of Speedscriber and Keyflow Pro is incredibly powerful. Transcribe your interviews in Speedscriber. Import library into Keyflow Pro and now you have searchable text transcriptions across all FCP X libraries. I just wish you could store the Keyflow Pro library file on an SMB server. Still figuring that part out.

[Brett Sherman]

[Andrew Kimery] “I’ve only watched the demo video but I assume the plugin is a vastly more simplified approach than Resolve’s built-in tools”

It seems to me it’s mostly innovation in user-interface. And I think it’s quite possible this would significantly speed up the color correction process. The controls are still the same as virtually all color correction systems. I think it’s a good idea. I just wish there were more innovation in the features. No skin tone tool? No curves? How about clicking on the image and having it adjust the luminance curve around the the luminance value of where you clicked? Black stretch? White stretch?

For me there is a significant cost to plug-ins beyond their actual monetary cost. I have to implement them across multiple systems. In cases like this where you get two licenses, I’d have to get multiple licenses for people on my team that don’t edit, but need to be able to look at the timeline. (Someone really needs to develop a “read-only” plug-in) Then there are the inevitable crashes. For me, it doesn’t meet the threshold yet.