Chris Harlan
Forum Replies Created
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[Charlie Austin] “”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. :-“
Hey Charlie!
Just so I understand, you bring in, say, a 42 min. ProResHQ file that has a 5.1 mix, plus a 5.1 M&E, plus 3 channels of mono splits. So, say 15 channels are in use. You’re delivering in stereo and not using any of their music, so you are only interested in 2 of the 4 mono splits. So you enable your DIA or SOT channel, and disable all 14 other channels in the inspector, which allows you to have only the DIA channel visible/audible while editing. Is that correct? So then, you want to cut in a creaky door opening and use the attached SFX, so you place the clip in the timeline and then in the inspector you disable the DIA track (because the soon-to-be victim is babbling on in the background about her MBA) and enable the SFX channel. Is that right?
If that’s all so, then FCPX certainly has better multichannel tools then I was aware of, which is, of course, not surprising.
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[David Lawrence] “[Franz Bieberkopf] “This is an audio-visual medium in time, and interplay between all the elements is at the core of the challenges of editing – often one leads the other (video leading audio, or audio leading video) an often it is actually a more complex interplay. To restrict editing to “tweak audio after video” is a very limiting approach.”
Well said.”
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. There is little or nothing I do that is not some form of J or L cut. All of this is being done while I’m working on about 12 other things and is an intimate part of the process of doing those 12 other things. So, for me, its not an afterthought, or something to do later.
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[Lance Bachelder] “I wish I hadn’t signed that darn NDA…”
Love it!
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[Dennis Radeke] “[Chris Harlan] “You can build ProRes templates for both timeline and export.”
Sounds like you’re giving Premiere Pro a spin, thanks!
“More than a spin. I’ve pretty much decided that Pr and MC are going to be my two main NLEs going forward. (And of course FCPL as long as it lasts.) You folks have done a great job with Pr 6, and its a pleasure to use.
[Dennis Radeke] “You might check out the presets for Mac users that are located here:
ProRes Presets for Macthis will give you ProRes export presets via Premiere Pro and AME.
“Thanks! I’ve been rolling my own, which is no particular problem, but I’ll download these now.
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[Bill Davis] “Probably $10k spent for something that became a functional boat anchor all too quickly. “
Yup.
[Bill Davis] “Hopefully, the “multi-channel audio” stuff in X that Apple has now formally pre-announced will solve some of your issues with X in the coming months.
“That would be very cool, even if it is just to turn off tracks/channels you don’t want to use. I’m glad it is near the top of the list of things they feel they need to address in the short term.
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[Bill Davis] “And hopefully, you can talk to those promo guys and get them to send you something other than a (video plus 3-channels of embedded stems) clip!
“Bill, you just do not live in multitrack land, do you? For me, multiple channels is a way of life. And, its a good one. That I can get a single ProResHQ file with all stems attached as split tracks makes my life so much easier than back in the middle part of the last decade when you had to dump them off a DA-88, that I just can’t imagine not having that ability.
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[Kevin Patrick] “Bill,
I clicked on your link. But I didn’t see any cat videos.
I think the appropriate response would be:
🙁
“I too was disheartened not to see either kitty videos or a honey badger. I shall remedy that now:
https://www.youtube.com/watch?v=4r7wHMg5Yjg
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[John Davidson] “Fo sho. We’re next to Outback. I’ll show you our FCPX stuff :).”
Love to see it! Doing a lot of mountain time for the first couple of weeks in July, but maybe just after that.
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[John Davidson] “John Davidson | President / Creative Director | Magic Feather Inc.”
You guys are out in Stevenson Ranch?! That’s wild. I drive by your office all the time. Let’s have lunch sometime!
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[Jeremy Garchow] “The awesome thing for me with Pr is the honest to goodness submixes.
“Its good stuff.
[Jeremy Garchow] ” think the mixer could stand to use a “downmix” button so that you could setup and mix a multichannel output, but still monitor stereo. “
Agreed. But I love that I can now monitor all my outbound channels by simply clicking the toggle at the bottom of the audio meters. It would be nice if you could gang those to monitor all outs, but as is, it is definitely a step up.
[Jeremy Garchow] “I also think that you can’t really change stereo to dual mono very easily.
I think I’ll just go on record and ask, why are stereo tracks even necessary?”
I’m still weighing this in my head. I do like the way that FCPL deals/dealt with stereo/mono issues, but I’m going to stay open about the choices available in Pr. I’m really interested in understanding the inner implications of the Standard and Adaptive tracks. The channel patching available in adaptive and the clip-level modify audio are positively exotic in what they let you do to patch multi-channel/multi-track audio.
[Jeremy Garchow] “All that being said, Pr has some really sweet tools for audio, it just needs a few more upgrades for ultimate flexibility.
“Well, there’s always room for more, but dang–there are some interesting things here.