[Bret Williams]

Worked! I went through and opened each track in its timeline and deleted any unused (not actually empty) tracks. Much better than breaking apart audio because doing that also deletes all video fx and transforms from the video!

But I had to go one step further and in the audio inspector I had to choose “reset” on the little audio type pull down. Otherwise it still saw ghost tracks. But doing those two things to every clip in the compound(s) cleared things up and X regained its sanity.

Thanks!

[Bret Williams]

It’s not as intensive with your iMac as with say a Mac Pro. You have h264 acceleration on that iMac processor where the xeons do not. Pro res is still a little smoother to edit with but not noticeably if you’re doing simpler stuff. It’s a double edged sword because ProRes might also require 10x as much data throughput and you can easily have a bottleneck if you don’t have a fast raid or SSD. Especially 4K. 4K proxy is just 1080p ProRes. Still pretty big files.

But geez buy some RAM already! 8gb? How does Premiere even launch?

[Bret Williams]

I actually went back a driver (so that’s 2 back I guess now) just to drop the crashes from once every minute to about once every five. I have figured out that playback won’t crash it. It’s when you’re actually editing/trimming. So I basically have been editing with it off, and toggle it on for client playback. I have a hot key (f17) to toggle it on/off. Can’t set it up in FCP X, but you can map it in system prefs keyboard shortcuts.

[Bret Williams]

I think they’re pretty good. Short, straightforward and wow, the camera is on a tripod! Not common in these sort of vids.

But, do I have to be the one to say it? Professional female talent. I’ve done some videos demoing woodworking equipment and they certainly do brighten up the piece. Just edit these like you always do, then write down what these guys say and have your pro talent do and say exactly what they did. Having the same host will give it some continuity. Yes, that’s what you tell your boss. It needs continuity, so you’re going to hire some pro talent. 🙂

Also I think you might do a steps 1,2,3… and then a little review at the end.

Very nice.

[Bret Williams]

Thanks Bill. I think you may be right. That’s the only difference I can see between that sequence and the other 3 I’ve done. I used a lot of duplicate shots for mating blue screen stuff out, and each one of those shots had 4-8 tracks from the camera, which, are turned off in the inspector, but they still come across as additional tracks, and when they’re all piled up, I fear that X may get overwhelmed as you suggest.

In my current sequence I’ve done the same with the mattes, BUT, as if reading your mind, I broke apart those duplicate shots and deleted the audio from the sequence. Same thing basically. So far so good. And the nested audio I’m sending through is only a couple tracks now instead of 8-16.

By the time this project is done I’ll have it perfected. Isn’t that how it goes?

[Bret Williams]

Adobe Premiere
Sony Vegas
EditDV

[Bret Williams]

(Crickets.) Obviously my workflow has so far surpassed others that no one can help me. It’s lonely at the top.

[Bret Williams]

Synchronized clips.

[Bret Williams]

A couple years ago I thought for sure Adobe was going to add full publishing (they already have rigging- albeit more complicated) to keep up with Motion’s integration. They quickly implemented text publishing which brought them up to FCP legacy and Motion 4 standards. But then seemed to have dropped it. Motion didn’t turn out to be a threat and I guess the pressure was off so they don’t feel the need to develop that integration any further.

[Bret Williams]

Maybe not plugins, with the exceptions of mObject, but Ripple is selling huge training courses in Motion and MoitonVFX is completely Motion templates now, with plugins that work for both. You really can’t use a template right in FCP X without making some changes in motion or just using it in motion.