Bret Williams
Forum Replies Created
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You shouldn’t have to render anything until you’ve got a few layers with effects. A 2010 Mac Pro might fare better with a better GPU and more RAM, but I wouldn’t drop a dime on it. New iMacs are so much better performers. Did you say your footage is proRes 422? That’s already optimized.
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optomizing it as prores takes a bit of burden off the processor/gpu, enhancing performance, like RT fx and playback while editing. If you have a high end iMac or MacBook Pro you likely don’t need to as they have h264 acceleration. The MacPros (old or new) do not and depending on your specs on MacPros, and the demands of the footage and your edit, you might want to optimize.
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I haven’t used any other color matching apps. Why don’t you try it and see what happens? Maybe it’ll work with such large areas being the same (wall). Also try auto balance that I mentioned and see if they all come out matching.
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Just point it to the drive or folder and it’ll find it all.
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The auto balance in X seems to look for white and neutral areas (just like any white balance, manual or otherwise) does. Might as well highlight them all and press cmd option B. A long shot for sure but yea never know. Sounds like the perfect test for Apples hyped color matching engine that has NEVER done squat for me. But maybe something which auch a consistent bgrnd would work.
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Ditto. If you have a large library (job) with lots of projects (sequences) and versions and each has compounds, titles, color correction, effects, templates, and all the other stuff that encompasses a usual edit, then the app really is a dog. Lag, beach balls, you name it. I tend to restart the app every half an hour to clear out whatever the gunk is that’s gumming it up.
But yeah, 3 months later it saves me 5 minutes on my export. 🙂
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It’s not necessarily a bad thing. Why not always show the 3D controls? But shouldn’t they be editable in the inspector somewhere?
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As long as you bought it with the same icloud acct it shouldn’t matter. Make sure you’re logged into the right acct and go to the “purchased” area of the app store. Is it in that list?
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Actually, that is just expanded audio you’re seeing, not audio components. There’s really no need to delve into audio components. Especially to MUTE tracks one by one.
If you have a camera angle with 1 mic you want to use and 3 tracks you want muted, then you want to simply turn off those other 3 tracks in the audio pane of the inspector panel for that angle from within the angle editor.
And changes later really aren’t that big of a deal. On the edit I used as an example, there were numerous content changes afterwards. Most of it content deletion to or rearrangement. But even with the dragged out audio, I could simply go to the beginning of where a chunk was to be deleted (on timeline) and press shift+cmd+B to slice through everything. Then go to end of the chunk and do the same. Then you only need to choose the elements on the primary between those two slices an press delete. At this point you may have eliminated the clip that had the audio track, so all you need to do is turn on the audio for whichever clip is then appropriate and drag it’s audio track out and adjust it’s fade. But that’s editing. Everything can’t happen automagically! If you slice through the dragged out audio portion, FCP creates a disconnected piece of stand alone audio appropriately connected to the timeline, but I delete those and do what I just mentioned instead.
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It can’t auto mute but you can certainly edit and mix tracks just like any other video/audio. If you need audio dissolves you can add an audio only fade or manually cross fade the audio as usual. Many complain that as you change video angles there is always an edit to the audio, even if there is no change to the audio track. If this is a nuisance, you can always drag out the first audio track from a clip and deactivate the others. I usually do this once picture lock is generally achieved, but before final audio mix as it’s cleaner for keyframing levels, and is visually a better representation of what’s going on. What specifically aren’t you able to do?
Here’s how mine looks with audio extended and manual dissolves between different mics. This is a roundtable type discussion where each had their own mic. Usually the fades occur in the deadspace before someone starts talking and the dead space after the other. Makes it easy to tighten/loosend the gap between speakers later and not have to worry about the audio overlap.
