[Carsten Orlt]

[Tom Wolsky] “That’s ridiculous. You can apply a composite mode to a connected clip but that not when the clip’s in a secondary?”

Actually true. I didn’t try that. When you have applied a composite mode to a connected clip and make it part of a secondary, the composite mode stays with the clip but is ignored. Something to fix and send to Apple via feedback 🙂

[Tom Wolsky] “if you’re editing a project with music and narration, and a section of video is made into a compound clip. To edit the contents of the compound clip, you have to open it into its own timeline. You now no longer can hear the primary narration and music. “

Again true. Of course you can split the compound clips back to it parts do your change and compound again. Not sure this will be solvable because you are actually wanting the ‘secondary storyline’ and ‘compound clip’ functionality combined into one.

Now if any of this is ‘ridiculous’ is another question 🙂

Cheers
Carsten

[Carsten Orlt]

Tom, with all respect, but you are still thinking the old way 🙂

I stated that of course when you change something on a clip on the main line you affect the overall time and/or the clips directly connected to the clip you are shortening or lengthens. but if you do anything to a clip that is connected you do not not affect anything else.

Secondary story lines are not compositing tools! They are editing tools! if you want to apply an effect to multiple clips I think you use the compound clip function (haven’t tried that yet)

applying a transition to a simple connected clip is not possible that is true. You could use opacity though but can’t of course use wipes or any other transition. That definitely can be improved.

Don’t understand you last point about loosing your audio with compound clips?

I only see workarounds if I try to apply to old approach, but I think this new way has a lot of merrits.

All the best too
Carsten

[Carsten Orlt]

everything else is compositing and for that you have Motion or AE ( though not interlinked yet)

and the real time effect handling is way better than 7!

[Carsten Orlt]

Mark,
I don’t think you can unless you shorten (trim end) or delete the already recorded part.
Cheers
Carsten

[Carsten Orlt]

Excellent post!

When I read that Randy Ubilos (correct spelling?) had the idea how to organise footage when he came back with his holiday footage sums it up…

2 things I just can’t get my head around:
why did they bother to show up at the NAB supermeet with all execs in tow?
did they really think that in the moment professional editors and post-houses see the whole software nobody would notice…

and what is actually the revolutionary thing about FCPx?
so far I only see restrictions (haven’t bought it as I don’t easily spent $300 for something I don’t need) compared the the previous version. And all this metadata talk is just that: talk. If I can only apply keywords and one note to a clip or section thereof I don’t see metadata at work…

Cheers
Carsten

[Carsten Orlt]

Thanks guys and sorry got caught up in something and couldn’t reply earlier.
Will contact Matthew off list.
Cheers
Carsten

[Carsten Orlt]

https://www.daxarchiving.com/en/solutions/broadcast-archive/solution.html

I use BruPe as well and while talking to them about a problem they mentioned the above solution which uses CatDv and the Bru engine.
I haven’t looked into it and am just passing it on 🙂

Best
Carsten

Carsten

[Carsten Orlt]

I have read the entire threat and agree with Shane that Color is far more advanced than anything inside FCP.

Kyler have you evert looked at the reconform function of Color? This is exactly what you are looking for.

Make your edit – send to Color and CC. Send back.
If you need to make changes make it in the sequence that you send to Color NOT the one you get back. Then send the changed sequence to Color again. Close it and open your cc’d seq. Then choose ‘Reconform’ from the file menu, navigate to the new seq you send after changes and after you select it Color will go through and update your seq to represent the changes. Only thing you do than is to adjust the changed areas and send it again to FCP. Voila.
There’s a couple of things you should be aware doing the above. Color will update the original project file after the reconform. So you can’t go back unless you open an archive version. So if you exchange a whole shot you might loose your initial grade. But you can always save grades so you can re apply them. When Color asked you to choose the seq/XML to reconform too you’ll see that the file FCP created is in fact a folder and the XML is inside having a number code. Bit confusing the first time but no big deal.

Hope that helps
Carsten

[Carsten Orlt]

gee – can anyone decipher my english with half of it missing..
sorry guys 🙂
I need to work less and get more sleep…

Carsten

[Carsten Orlt]

Hi Jeff,

I use the Pro – standalone version (always latest version number)

As for the Bru student bundle: I personally wouldn’t buy a DAT tape drive as I think it doesn’t provide a high enough storage per cartridge amount. Working with 1080 ProRes or Prores(HQ) fills up the 800 Gb LTO cartridge quickly. Last time I looked DAT had a max capacity of 80 or 160 Gb. The drive Bru is offering is only 36 Gb. Also it only has a USB connection which I do not think is fast enough to be workable. Yes time is your friend when you’re are your only client but the last thing is you want to spent it on is waiting for backups to finish…
All said I’m very aware of the very high cost for a little shop but in the moment I do not see a way around it 🙁
LTO drives are expensive to buy but very cheap to run long term.

Hope this helps.
Cheers
Carsten