[Charlie Austin]

[William Davis] ” I’d like to marry the clean splits to the master clip, and then have the ability to turn off the mixed tracks when cutting shots into my timeline.

Setup went fine: I created a compound clip and dropped the ProRes captured clip of the episode into it. Then I synced up L and R of dialog, effects, and music below. But when I close the compound clip in my timeline and access it as a source, the Inspector shows only one mono track, and not the separate discreet channels I was expecting.”

If by “turn off” you mean mute, you can easily do it with roles. You can assign roles to clips in the event browser, which is preferred because they’ll have those roles no matter what you cut them into. You can also do it from the timeline if you’ve already cut them in. (changing a role in the event will not transfer to clips you’ve already cut in) . If it was me, I’d create and assign roles to the event clips, and then assign those roles to anything I’ve already cut in. Hopefully I’m not being too obvious, or too vague. If you haven’t used roles much it’s real easy. Let’s assume you’re doing the event clips first, though the process is the same either way.

Select a clip. open the inspector. select the “info” tab. locate the “Roles” drop down menu. from here you can A) assign a default role or B) choose “edit roles” at the bottom of the menu and then use these. Do that, and you can create new Roles and subroles with the + button. If it were me, I’d make:

A “Mix” audio role, and a “Stems” audio role. I’d then select the “Stems’ Role, and in the subrole pane create as many of those as I need. DIA/MX/FX/VO… whatever. Click OK and they’ll now be choices in the menu. Then just select each clip and using the

Then select each clip and in the inspector assign the proper Role. (Again, I’d do it to the masters in the event *and* any clips in sequences. Then you wan’t need to do it again) It’s way less convoluted than it sounds, it’ll take about a minute. 😉

Anyway… Once that’s done, in the Roles tab of the timeline indexyou can then mute/solo, highlight, and expand each individual role even if it’s buried in a CC.

Hope this helps, and wasn’t too pedantic!

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Rafael Amador] “The kind of “edit-on-a-coffe-shop” that Bob explains on the opening post, is something that you can do now and them. But if you try to do that on a daily base, after a few months you will be visiting your ophthalmologist.”

Here is a pic of an early beta of, what I think, is the brave new future of editing. Avid’s new touch based iOS version of MC. This is gonna be great! I hope I’m not breaking my NDA by posting this…

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Jeremy Garchow] “this is getting blown way out of proportion
“

Ya think? 😀

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Jim Giberti] “If you’re serious about mixing audio, there’s no such thing as: open in timeline, tweak, close in timeline and open something else.

Exactly. And this is why to me, having a virtual mixing console in an NLE is dumb. I get it, but i never used it. I’m cutting picture. That’s why I like X. And fcp 7 too for that matter. Other than patching tracks, audio manipulation is super quick and easy. Premiere? Maybe powerful but easy and fast? uh… no. Hell I wouldn’t want to cut a spot in Protools or Logic. 😉 As an aside… Avid shouldn’t have killed Audiovision. That was a great DANLEW. 😀

And yes, audio handling, and roles.. whatever, needs to be beefed up in X more for, in my opinion, organizational purposes than anything else. Faders in an NLE are superfluous IMO. Maybe X needs one fader per Role for overall leveling, maybe. Individual clips can be adjusted very nicely right now with keystrokes/keyframes. EZ. In a perfect world what would happen is…

[Jim Giberti] Can you imagine one of those clever little animations (like Time Machine) where you click a button and the timeline morphs into a mixer with all the audio tracks and filters laid out below the viewer?
I sure can.”

Drool. 😉

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Bill Davis] “[Charlie Austin] “Sure, you can mix on headphones, but what you end up with will sound like crap on a TV, or in a theater”

i MIGHT buy the theatre analogy since mixing for 5.1 surround is obviously best done ON a 5.1 surround system.

But TV? Seriously? You’re telling me I can’t mix audio on a laptop with headphones for a broadcast TV signal that’s ultimately likely to hit a transmitters “brick wall” limiting? Really?

I do a fair bit of work that ends up on major market radio and network affiliate TV. And so far not a SINGLE person anywhere along my distribution chain has EVER said that my mixes don’t do just fine. “

I’m not saying it can’t be done, of course it can. I’m simply saying that a mix done on headphones will sound totally different on a TV (or whatever). It might be fine, or it might suck… you just can’t tell. Hell, in my mixing days, sitting in a small theater with a dolby certified 5.1 theatrical sound system and a top of the line set of tuned near field monitors, I did most of my TV mixing through a mid range sony stereo TV. People loved my mixes. But I wouldn’t mix a trailer on the TV. Mix for what the final product is going to be. I’d mix a radio spot on headphones… maybe. 😉

[Bill Davis] I’m essentially arguing against the idea that qualified people MUST be tied to a formal studio in order to do competent or even excellent work.

I agree.

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Bill Davis] “The main issue is that you usually have to agree to be both a user AND a seeder – and that means that there will be a system that can reach in and access content from your local hard drive at will.

If everyone is honorable, that’s hunky dory. But the minute some black hat decides that there’s a central file somewhere with the ID info on a huge group of computers set to allow remote I/O – and can assemble massive computing power at no cost – then all hell has the potential to break loose.”

Totally agree. We need to use either the studios proprietary portals, or a dedicated service. FWIW, we use interdubs, who are fantastic and reasonably priced. There’s also wiredrive, beam, review manager, and some others. “The Cloud” ain’t gonna cut it at this point…

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[David Lawrence] “[Charlie Austin] “CS 6 Hover Scrub does lets you mark I/O points, but very imprecisely.”

Sorry Charlie, I don’t know what you’re talking about. Hover scrub lets you skim, and use full JKL keyboard control to find your I/O points. It’s frame accurate. Maybe you’re holding it wrong! ;)”

Hey, you’re right. I was holding it wrong. 🙂 I don’t like it as much, but they did a good job of copying X! If they could copy clip skimming, and get rid of the tracks they’d be on to something! 😉

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Bill Davis] “Not buying these arguments, Herb. And look at the weasel words you’ve felt compelled to use here. earphones “can” lead to… and laptops “can” hide unwanted details… thats true. But it’s equally true that these tools can also work fabulously. The difference is knowing how to use them. If a person knows how to LISTEN properly, they can make judgements about most of this stuff on any full spectrum sound reproducer – whether that’s mounted in a wooden box in a tuned room or in a plastic earbud is largely irrelevant.”

I’m compelled to jump in here Bill, but Herb is right. Sure, you can mix on headphones, but what you end up with will sound like crap on a TV, or in a theater. Again, you can certainly do all these things and get great results. But mixing a corporate promo for a trade show, TV Spot, youtube video. theatrical trailer or feature, all require different monitoring. Headphones won’t work for everything. Neither will a laptop.

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[TImothy Auld] “FCP X does do some of those things with the skimmer.
Hover scrub in CS 6 too.
“

Just to be clear, FCP X does all of those things, and a lot more, with the skimmer. CS 6 Hover Scrub does lets you mark I/O points, but very imprecisely.

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~”It is a poor craftsman who blames his tools.”~

[Charlie Austin]

[Jeremy Garchow] “Walter seems to be just fine with an iMac, no?

You can use Thunderbolt to get to almost nay professional monitoring system available. It’s really easy and some of them will fit in the palm of your hand, like the TTap.

Jeremy”

Guy here at work is running FCP 7, the CS 6 suite, and Cinema 4D off a New-ish MBr. Monitoring from 2 27″ apple displays and a projector. Hasn’t had any issues yet…

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~”It is a poor craftsman who blames his tools.”~