[Craig Alan]

When I select a range in the timeline and click F the entire clip in the browser is selected as a favorite – the selection is ignored. The only way I know to save the work you did on an edit in the timeline is to create a compound clip. Am I missing something?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks, does help. I can create a key word collection for each import which are cards A1 A2 B1 B2 etc. Filter by folder name and drag to the newly named key word collection. I’ll try your suggestion of creating some of this structure upon import using the inspector. I can also try a batch rename.

Is there any command to highlight a group of clips and have them become a keyword collection? What I’m seeing is creating a keyword collection (basically a folder) and dragging clip into it.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

The P2 card is copied to a folder in the finder that I have named. But once imported, the only name FC is giving to it is the date of the recording not the folder name. So if all the folders contain media recorded on the same date, it imports as one big collection. Any part of the folder name however will be treated as a key word when I type it in the “search for clips by ______”. So a keyword based on the folder name has been applied but does not show as a collection. The only way I can keep say b-roll media in its a own folder is to import them in a different event. I guess if I filter them by b-roll I could then create a keyword collection?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Ok thanks.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks Erick. However, they sell new for $85 dollars (minus ed discount for us) and the retail for the cable alone is $35 plus labor + shipping and new pads would be good. I remember that a straight cord was an option at one time but I don’t see that now. We have like 20 of them. I train the kids to remove them first when packing up and last when setting up. I hang them from a separate pole between classes and in storage.

If one stopped working I wouldn’t mind learning to use a generic headphone cable and learn to solder it. Is there such a cable and how steep the learning curve?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Don’t think I’d want to add thickness. But here’s an off topic question that is another pet peeve of mine that maybe is a non issue for everyone else that might be related to your heat shrink tubing suggestion.

The coiled cables on the Sony headphones MDR7506 seem to snag on everything that comes close to them.

Would the heat shrink tubing straighten out their act? Do cords remain flexible with their addition?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

I find that the skin tone colored cords/mikes are more distracting than black. But it would need to be a matte black. They often look like scars or the audience starts staring at the them to see what exactly it is. I find that black on the other hand either blends in with shadow or you just think “mike” and forget about it. But if I were to color over it it would have to be smoothly applied and a matte finish. Black eyeliner just makes the eyes look bigger or more defined. Colors look like a mask and call attention to themselves.

Personally I never find that trying to match skin tone works. Skaters with custom skin tone boots and leggings for example. The only time the camouflage works is if the cloth is somewhat transparent and the skin itself is showing through like some silk stockings.

I was actually advised by countryman (when I asked if I could trade them in-no I could not) that if I choose the darker color on a lighter skin the contrast would make them less distracting. I also asked at a local audio retailer if I could trade them in at a loss and they told me there was too little demand for them. They are used for live shows but mostly in custom colors and even then I find the camouflage fails.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

https://www.fcp.co/final-cut-pro/tutorials/1191-sub-frame-audio-editing-within-final-cut-pro-x

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks Ty. We may just cut between the two sound sources since we have hours of footage and the drift could be significant. I have read that FCP X can adjust sound at a sub-frame level. Never done it though.

But if not now then in the near future I will tackle that learning curve. So my question is: Doesn’t the length of the XLR cords also factor? Our mike on a stand was very close to the stage. Th house board was at the back of the auditorium and our feed from the board was a 50 ft xlr. The xlr from the stand mike was 30 feet to the B-roll cam.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks again. We did the best we could given no tech rehearsals. We aimed the mike on the stand (hyper cardioid) toward the acts with their own systems. We’ll learn more from the experience when we go to edit. We shot this 2 hour show three times so we have a lot of media to ingest and sort through. Though I love to give other programs a good video of their work, my primary job is to teach production skills to students and I think the team learned a lot about the work flow regardless of the results. Things like setting up the cordless kits and running xlr wires and finding breaks to exchange to batteries and checking calibration levels and getting a mix of wide and close ups, etc. I also have the other stake holders coming to me and telling me we need to get together and sort out the technical issues in this environment. You think?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.