[Craig Alan]

Doesn’t one need to be careful to create a new compound (multicam) clip? Won’t it otherwise ripple any changes made to the clip to previous uses of it?

Hope that’s clear. I wish the ripple behavior was an option and not the default.

Hope also my FCP vocabulary is accurate. Not sure that changing all versions of a compound is called a ripple?

Also not sure if multicam clips are treated exactly like other compound clips?

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]

Granted it could be better but there are a lot of mods within FCP X rollin credits if you play with all the variables within the inspector. And you can blow the whole thing up by closing the browser and library and double clicking the title in the viewer. If you have tried all of this then yeah it could be better. If not this is way better than typing in the little box in the inspector text window.

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]

Would love to be able to enhance footage as easily in FCP X as in Aperture and other photo apps: features like skin smoothing, sharpen, brush in effects (with auto key framing within a clip). Seeing more and more footage where actors and other details) less than perfect skin detracts from otherwise beautiful composition. And I mean on all levels of production including movies and TV shot with Alexa’s and big budgets.

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]

This is a bit OT: but doesn’t the assistant editor follow the choices defined by the editor: technical and organizational ?

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]

“Was any audio filter applied to the clip? ”

Not sure.

Some may have been added upon import (the auto analyze/fix function might have been on) though I don’t prefer this.

I know I switched the settings in the inspector to dual stereo and turned off one of the 2. Is that considered a filter?

Expanding the audio did the trick. Plus it does improve the visual presentation of the resulting multicam clip in the timeline.

I would really like the audio editing to improve in FCP X. Some things work in the inspector, some on the timeline, some require effects. I’d like it in one place and consistent rules of application.

Is there any way to adjust the levels of each channel (of a stereo pair) independently (other than panning or detaching the audio track)? Could not find it anywhere. And again I clearly remember doing this in the past.

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]

Yeah something changed in X.

check the setting in the inspector and instead of detaching audio try the expand audio option mentioned above. worked for me but still put off by a lack of audio sense in multicam. the problem with detaching is it defeats the very benefit that multi cam is good at – sync. been a while for me but last time it seemed the audio was seamless. also i remember selecting each cam’s settings in advance for either visual or both or audio. now it seems more confusing in that the icon on each clip will change in the viewer with the icon really being used for the type of edit being performed. But maybe that was a step forward. Not sure.

i’ll be doing this a lot more this summer so I’ll get more of a handle on it. But as far as my understanding it … I have no idea why expanding audio would prevent a pop and a visual only edit would produce one.

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. Expand audio components did the trick. Seems like a bug to me since its not detached, so why would it make any difference.

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 think we suggested the same set-up ” it would be better to go XLR out the mike then use a transmitter out the rolls to the camera or mixer.”

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 Bret,

Not sure I follow.

I have the multicam clip on the timeline.
In the viewer I have the cut icon set to visual only.

In the inspector one angle’s audio is turned off

The other is on.

I expand audio.

Not sure what you mean by drag out audio track …

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]

Absolutely. Its amazing to me that all the companies don’t sell a way for the boom op to hear what he is sending the audio tech and/or cam op. Granted getting the boom close and pointed at the mouth will usually do the job but monitoring would give the boom op constant feedback. And different voices do effect mike placement, never mind b.g. noise.

Bill, what would allow the cordless plug-in to send a feed to the headphone amp for the boom op. I’d guess a second receiver into the Rolls would do it. But maybe it would be better to go XLR out the mike then use a transmitter out the rolls to the camera or mixer. For starters the G3 plug-in that provides phantom eats batteries.

And it does add weight to the end of the boom. The down side to this would be that the boom op would not hear the audio being sent to the recorder because they would be hearing the xlr feed which could be fine and the cordless kit could pick up interference or worse.

I’ve requested these components for our studio but it hasn’t been ordered yet. My workflow would be XLR from hypercardioid to rolls> xlr to 302 mixer providing the phantom. Then cordless G3 from the mixer to the cam op. This allows the audio crew to stay together and provide a good feed to the camera/recorder. All three ops would wear headphones. With the back up of adding an xlr cable from the mixer to the camera. But we rarely get interference in the studio using the G3 A kits.

Granted an xlr connection is more solid. However, we use floor light stands and stingers and it’s not a huge studio and it gets crowded. This gives the cam op and audio crew more freedom to move for each shot.

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.