Charlie Austin
Forum Replies Created
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[Jeremy Garchow] “Do they have an OMF button?
😉
What about consolidate? Will it copy the media somewhere for you?”
Yes, it has an OMF button. It also demagnetizes and puts discrete tracks back into the FCP X timeline 😀
… It just makes EDL’s, no consolidation. But the EDL’s work just fine. And being able to edit the source table is a nice thing to have when 8 out of 10 of your sources had no reel numbers logged to the file and are all ID’d as 001. Don’t ask me how I know.
But I’ve said too much. 😉 Keep an eye on the app store, hopefully it will appear soon…
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[Jeremy Garchow] “[Charlie Austin] “EDL-X is done, and waiting for app store approval. It works really well. ;-)”
What’s the workflow?”
export fcpxml, open in EDL-X, edit source tables if needed (awesome feature BTW!), choose audio, video or both, save EDL’s. EZ 🙂
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[Oliver Peters] “[Jeremy Garchow] “I don’t know what ever happened to these guys”
I believe it’s still in development.”
EDL-X is done, and waiting for app store approval. It works really well. 😉
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[Jeremy Garchow] “…This can cause big issues as the audio is divorced from the video. I do use the primary and i like it, so when breaking clips apart outsude of it, I have to be super careful.
I do like how “tidy” the FCPX timeline is (or can be).”
I’ve worked with audio separate from pix forever, so that’s not really a problem for me. I actually like seeing the audio associated with picture. I know this is possible by expanding the clip height, but my timelines generally contain tons of audio “tracks” so I need to work at the smallest size. It would be nice to “lock” connected clips together though…
I’d be super happy of I could expand audio with all selected tracks, not just the pseudo mix down it currently presents, have differing Roles assigned, and be able to shrink them back up when needed.
That would be great, and it’s a feature I hope they implement. At the very least you should be able to assign roles to individual channels in a master clip in the event.
FCPX has awesome short cuts to expand one clip, all clips, all clips with splits (j/l cuts) and then collapse all. Those are all kb shortcut ready, and makes easy work of working on everything, nothing, or some of it only when you need it. It is features and thinking like this that keep me around as what’s in there is a decent start, we just need more of options and control of it.
Why don’t you use the primary and edit with the position tool on all the time? Just curious.
“Agreed, working in the X timeline is way more efficient than 7 for me. And like you, I look forward to additional options, control, and polish. I’ve been cutting stuff 40 hours a week for over 20 years, and FCP X, while often maddening, has made editing weirdly fun fun for me. 🙂
RE: the primary.. Besides force of habit, the main reason I don’t use the it is because of the sheer number of “tracks” I cut with, but honestly, it’s mainly because I haven’t adapted to it yet. Even using the position tool I find it more difficult to move stuff around quickly in the timeline if it’s in the storyline. I’ve also found that secondary story lines behave uh… oddly when you try and move them around so I avoid them for now. I’ll try using the primary more as i move forward, but it just slows me down at this point. YMMV 😉
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[Jeremy Garchow] “[Charlie Austin] “Hey Chris, Yeah, like Alban said below”
The problem is, you don’t have access to the two audio channels separately unless you break apart.
When you break apart, there’s no indication of sync slippage.
To combat that, you compound and break apart every time you need to make an adjustment.
If you need stems, you’ll need to break apart all of it before export as multiple audio Roles inside a compound take on the one audio Role of the compound.
This is where FCPX needs help. Multichannel audio mixing/export with sync indicators. Right now it’s less then efficient/ideal.
I’m looking forward to what Apple comes up with.”
Hey Jeremy, True, but in your example above the only issue that effects me (if I’m not being careful) is the lack of sync indicators. Like someone else who cuts promos mentioned, I never use story lines and cut everything in as connected clips, so the audio is always separate. If I only cut in the channels I need, I never need to break things out in the timeline. I do agree that there’s lot’s of room for improvement, and also look forward to what they come up with. 🙂
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“that audio and video editing are–for what I do–inseparable”
Gotcha, same here. 🙂
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” Is that right?”
Hey Chris, Yeah, like Alban said below, it’s really easy. In your example above, you could tell the inspector (if it didn’t auto detect it) that you have 2 surround and 3 mono stems, so all you’d see is 5 stems. Then you can just select via checkbox (kind of analogous to soloing tracks) which stem you want to cut in to the timeline. If you need a specific stem(s) from either surround mix, just tell the inspector to display that stem as as 6 mono tracks (or stereo, mono, mono, stereo.. whatever it is) and select the ones you need. You can do all that in the timeline after the fact as well, personally I find it easier to “assign” the “tracks” I’m cutting into the timeline first. This workflow is one of the the things I really miss when I’m in FCP 7. A source with that many tracks to keep uh.. “track” of in any other NLE I’ve used is maddening, doubly so now that I’m cutting some stuff in X.
Getting elements out, however, is another kettle of fish. I just finished a theatrical :30 spot that I cut in X. It was… challenging. That, and compatibility with other editors at work on FCP 7 is what keeps me from moving exclusively to X. A few more rough edges to smooth out and I’m gonna start switching them over. That’ll be fun. 🙂
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“Agreed. I regularly reduce eight or ten syllables of dialog to four or five. I replace names with “his” or “she” stolen from other scenes. I compound different sentences from different bits of dialog.”
FWIW, cheating dialog is really easy in X, mainly because you can freely move audio clips in subframe increments. Picture can still only move a frame at a time, for obvious reasons, but you can move audio clips however you want, not just the keyframes. Something I really miss when I’m in FCP 7…
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“That would be very cool, even if it is just to turn off tracks/channels you don’t want to use.”
Already do-able. You can enable/disable embedded source tracks in the inspector. That’s how you “assign’ which tracks get cut into the timeline. For feature stuff I generally only enable the source dialog track and enable FX or whatever only if I need ’em. Turning off/muting things in the timeline is really simple if you’ve assigned roles, or you can just disable ’em with a single key stroke “V” which does the same thing as CNTRL-B in FCP 7. 🙂
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My pleasure… I had totally forgotten that trick myself (it works system wide btw) until someone posted it somewhere or other… happy to pass it on. 🙂 Oh, in case you hadn’t tried it, left arrow closes ’em all up …