[Carsten Orlt]

I only remember that I paid the equivalent of US$72.000 in 1992 for my Avid which was an ex demo model because I couldn’t afford the full price. It was the 25th license sold in Germany. It was running on a IIfx and I had 3x 600 MB hard drives which each cost the equivalent of US$6.500.

Over the next five years I paid at least another US$40.000 for upgrades. There was a reason why I switched in 97 or 98 ( can’t remember) to FCP v1.

But don’t forget that we could charge very different rates at the time 🙂

Funny thing is that I had similar discussions around 1991-92 with tapes houses about pro and contra of the Avid system that we have now about FCPx. History likes to repeat itself.

Best
Carsten

[Carsten Orlt]

“Change for the sake of change is pointless”

Absolutely correct! But FCPx timeline is far from “for the sake of it”

It actually addresses all the shortcomings of a track based timeline in a genius way 🙂

[Carsten Orlt]

Could ist be that FCPx always needs media to be online for the XML export to work? So if the event has offline clips it cant’t export anything.

I’m guessing this because e.g. the 7toX software from Intelligent Design can’t create an XML for FCPx if the media is offline.

This is a guess as I haven’t had your problem yet.

Best
Carsten

[Carsten Orlt]

[John Davidson] “Should I create an event just for pre rendered graphics per network?”
That’s what I do for anything that I need to reuse across different projects.

[John Davidson] “motion projects that are then easily generated in FCPX”
I absolutely love making templates in Motion and publish only the parameters I like to be editable, e.g. the name in a lower third. When you need to do them in AE, of course this doesn’t work. There is no ‘watch folder’ function in FCPx. So you have to manually import them. Maybe you can create the graphics in AE, but than add the typo in FCPx. This would allow to copy paste the combined (or even compounded) e.g.. lower third.

[John Davidson] “I think that we want these episodes to be aliased vs copied to event, right?”
I actually changed my approach to import all media into the event folder, not using aliases at all. Simple reason is that If I need to backup or move an event I do not have to worry about where the media is located. I also think this way I avoid any problems of aliases breaking and needing to relink. Because the finder structure of FCPx is transparent I can still easily find clips in the finder if need be.

[John Davidson] “Edit the project, replace the old event folder on the master mac when done, and then relink the aliased media? The problem arises when editors don’t get this system or just forget to do it at the end.”
Again that’s why I like to keep everything in the event 🙂 I do not have any experience with shared environments, so I can’t say anything about how to set this up.

Hope this helps.
Best
Carsten

[Carsten Orlt]

Mea culpa, I misunderstood your question so Tom’s answer goes 🙂

Would be great to know what problems you had with multi cam.

Best
Carsten

[Carsten Orlt]

I find the keyboard shortcut of command-[ and command-] (the square brackets to the right of P on the keyboard) very handy when switching between projects. You can’t see 2 projects at a time but by using the command you don’t have to go via the project browser. Load all the projects you need (double click) and then you can go back and force using the keyboard command.

Another tip. When creating keyword selections you don’t have to be accurate! They do not behave like sub-clips in FCP7 where you are limited to the length once the sub clip is made. After editing a keyword selection into your timeline you have access to the whole clip that it is coming from, meaning you can trim past the initial keyword boundries without restrictions. So if you key wording from a long clip you can be fairly rough and do not have to worry that you can’t manipulate the clip once it is in the project.

Best Carsten

[Carsten Orlt]

Think of it as a file transfer. If I remember 1 hour of 1080 ProRes (not HQ) is about 60GB, so 2 hours is 120GB. If you copy 120GB from disk to disk it could take 2 hours depending on your disk speed.

So I think this is normal.

Could I be wrong? Any other takers?

Best
Carsten

[Carsten Orlt]

Easiest practise would have been if you would have key-worded the original clips according the highlights. Goals, misses, good play etc. whatever you need.
This way you could call up only the sections of a game you want to combine for either summary or highlights.

But I understand you haven’t done this because it is not your preferred workflow.

You can’t drag edited clips to the original or a new event. But you can do the following: highlight the clip in your edit (with the pointer over the clip hit C, or click on it), than hit shift-F to match select the range of the clip in the original event it is coming from, than hit command-K to assign a keyword to it (e.g. Goal) once you done this for your best moments throughout your edits you can select the keyword selection in the event and either drag them all down to a new project or do it one by one making a new order which is not time based.

Alternatively you can just multi select (command click) clips from your summary edits, than copy-past them into a new project and edit to your desired order. of course this will create gabs but they are easily deleted.

That’s the 2 options I can think of. May not be all 🙂

Best Carsten

[Carsten Orlt]

Use a secondary storyline to do your edits in instead.

Best
Carsten

[Carsten Orlt]

Just select the keyframe and hit delete.

To remove all keyframes select the clip, then go to the inspector and reset the volume/pan control.