Bret Williams
Forum Replies Created
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Because Bill only needs it once in every 50 projects. It would just make FCP X bloatware. He can do it with a workaround.
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I would suggest trimming tools. dynamic trim, multi clip trim (G tool), 4 frame display during trimming, etc. Basically bring it back to the level of every other NLE including legacy.
Match frame to keyword collection.
TC displays and copy/paste TC. TC readers.
Actual event viewer that has a purpose with scrubbing bar/mark in bar/ audio view.
Multiple browser windows so you can have one set to thumbnail and one to list, etc. Also thumbnails in list view that you can scrub just like 7/media 100/Avid/premiere/everyone.
Recent clip list in event viewer
Open compound/sequence in event viewer.
Everything we used to have plus all the cool new stuff in other NLEs. 🙂
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It’s great. But I certainly can select multiple clips or transitions more quickly in the timeline where I have a visual representation. What I’m really looking for here too is the G tool we used to have. Where for example you can select 10 layers end point and drag them all out. Every time I have to do this layer by layer it drives me nuts.
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This whole move the development team around surely has something to do with their breakneck pace then tortoise crawl mo. And with AppleTV and a Watch having come out in previous years, I can be the priority for the niche pro side users has shown down. Hopefully as you suggest, it’ll pick up when the watch and tv progress slows to a halt for a few years.
So the richest company on the planet has to share it’s development teams. Awesome.
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You really don’t want to break apart your audio. It’s a mess and there’s no need. I think the confusion might be that you created a compound, burying the audio into a clip into another clip. There proper method would be to use the automated synchronize clip function. But even so, show audio components will always show all the embedded tracks, even if they’ve been turned off in the inspector in an embedded clip. In which case the tracks will show, but they’ll have no audio. So if you’re not seeing tracks that you should be seeing when you show audio components, then somewhere along the way you’ve done something very odd.
I’m working on an interview now that has 2 channels of camera mic audio, and an external recording as wav. In the event, I select the two and right click and choose to create a synchronized clip. The resulting clip looks like this in the inspector and the timeline with show audio components…
I don’t want the camera audio, so I simply deselect it in the inspector and it doesn’t show in audio components…
Even if I were to now bury this in a compound clip which it sounds like you may have done, I suddenly see the two audio tracks I turned off again. BUT, that’s just because they haven’t been turned off in this new compound clip. It respects that there is no sound for the tracks because I turned them off in the embedded clip, but since I haven’t told it to turn them off in the inspector of the compound, it can still see them, but not hear them. So burying things within something within something can quickly get convoluted. I wouldn’t suggest using a compound for this. Although you should still see all the tracks available in the inspector, even if showing them doesn’t make them audible…
The last thing is that my audio I want to use is still tagged as stereo. If I want to get down to the 2 individual channels, I simply change it to dual mono in the inspector. I guess yours would be quad mono or something. If your clip is compounded, you’ll have to enter the compound and make this change within the embedded clip since the compound naturally has to follow what it’s source files are. Below I’ve ditched the compound altogether (which was just for demonstration) and just gone back to the synced clip and changed the stereo track to dual mono, and turned one of them off, leaving me with just one mono track of the interview. Nothing has been deleted anywhere and nothing has been detached. In fact, this should all optimally be done to a batch of clips at the same time in the event.
Now I have my clip with only the audio I need. I try not to keyframe or do much editing or fade handles within audio components, but sometimes, like at a round table discussion multicam with multiple mic sources, it’s the only way to go. But even then, you can make a cut to the video so that you can turn on and off the components, then do a J or L cut with the audio. All much cleaner and all key framing and audio fading can be done at the clip level, and not buried in audio components where you could end up with key framing on top of key framing, which can get confusing just like burying a clip within a clip can.
HTH!
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True. But shouldn’t have to look at the other monitor. One does the marking in/out on the same screen as the event, and the duration is at lest on the same screen. I’d love it if you could mark in / out and scrub in the Event viewer and had some better TC displays.
I feel like X had some fast updates and advancements in it’s first 18-24mo after release, but in the last 2 years nothing but 3D. Changing the file system doesn’t count imo. I feel like we’re already in the FCP 6 stage of development. There will be another update to add in some requested features, but then even more crickets.
Hope I’m wrong.
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Kinda stinks you can’t use a reverse marquee or a marquee with modifier key to select transitions instead of clips.
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Do you have a screenshot? Sounds like you’re just expanding the audio, or perhaps because you made compounds instead of synchronized clips that X is treating it differently.
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I think one trend I see is that an i7 is better than a nMP in terms of playback performance if you’re using h264 based material. On a late 2012 i7 iMac I find no benefit in transcoding to ProRes. Except a lot of time and drive space wasted. Exports to h264 are ridiculously fast as well. But that’s all from the h264 acceleration that the i7 (i5 too?). MacPros, new or old, seem to really want the media to be ProRes. Oranges to oranges, I’d assume a nMP would play back way more layers of ProRes at once than an i7 iMac.
I still get laggy experience no matter what codecs I’m using, optimized or not. But it seems to be more a function of how many motion templates or layers of title fx or generators I’m using. Sometimes just having a very complex motion template in the sequence, even if it’s rendered, seems to bog things down, as if X has to treat it as unrendered even though it’s rendered. It has to check and make sure all the resources are there just in case it comes unrendered or something. Have a couple copies of something like that in your sequence, or a few complicated compounds and the beach ball comes out or every function starts to take 5 seconds instead of being instantaneous.
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As for doubling up on the one clip, is this to increase the volume? Just add a gain effect if the 12db increase isn’t enough. You can also right click and “open in timeline” where you’ll see the audio and video separately and you can actually increase that clip 12db there as well. Although I don’t generally recommend messing around in there too often because there isn’t any sort of notification anywhere that you’ve played with the source. Whereas if you just add the gain effect, it’s visible (and copyable) right there in the inspector.
