[Craig Alan]

Copy just the used media. Cool. Great tip. I can see using this late in the game to clean things up when a project is done and there is no great need to archive unused media.

Also:

I’m dealing with a similar issue. I want to travel back and forth home/work with a project that is growing in size – over 2 TB so far.. I use unmanaged media stored in organized folders. I have a set of labeled folders of P2 card copies. These are ingested into a Media folder and the library references the media folder.

If both computers have copies of the P2 cards and they are labeled the same, could I travel with just a copy of the latest project file on a flash drive and have both computers open the same edited version of the FCP X project?

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]

Bret, Just to be clear, not that you haven’t been: If you create a new library, and then copy a timeline (project) to it, then the new library will only consolidate media that is used by the timeline (project) you copied over to it? If so, will the consolidation move the used media of the project out of its original location (or will it copy the media from its original location). If it moves it, it will mean that the project in the original library will have media go off line? Correct?

Hope that’s clear cause my head is spinning.

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]

You can delete your last post.

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]

[cindy konits] “still can’t trim the video track independent of the audio track”

The stills are embedded in a video composed of stills? Is this a downloaded movie?

Can you show us a picture of your current timeline and we can tell you how to break the audio part from the visual and then the visual can be trimmed independently. Bill actually told you already but if break apart is greyed out then just detach audio will do the trick as well.

Here’s the thing: in FCP X there is a primary story line that is represented by a darker “TRACK” when empty.

Other clips are attached to it with a little tail. The tail attaches a clip to the primary clip so if the primary clip moves so does the attached clip.

There are projects when other NLEs might have 15 or more tracks and X might not meet the needs of someone working with that complexity. Particularly if they were very skilled and experienced with track based editing. But stills set to the beat of a music layer is super easy in FCP X.

Do you know how to post a pic on the cow? If you posted a screen grab of your current timeline we could explain how to edit the visual part from the audio. It’s really pretty simple. I teach students to do rough cuts in a couple of minutes. Literally. Granted I do the media management for them. And each step requires another couple of minutes.

If you don’t know how to post a screen grab then select a clip and look under the clip menu and choose detach audio. If you leave the visuals in the primary story line – the darker track – then follow Bill’s instructions.

Read this:

https://support.apple.com/kb/PH12633

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]

You could put the audio on the primary storyline, play the music and place markers at the beats. Close your eyes and hit M at each beat. Then connect the stills and trim them to the markers. You could do this as individual connected clips or as a secondary story line leave your visual sequence as is and trim each clip to the marker rippling the remaining clips.

Just put your mouse at the cut and make sure the little film strip is on the left side of the edit. Trim the out point of the clip to align with the marker. Then move down to the next edit point and repeat.

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]

Mark, how do you adjust color on a blank track? How do you monitor what effect this gives your images? Or are you seeing the layers below by setting opacity? Can you then set a different correction on a clip by clip basis? Fine tuning whatever you set globally?

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]

Did you use it with projects already set up in mavericks?

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 21 inch has less glare than the 27??? Why not control your room light and turn down the brightness or buy a film to put over the monitor? Less real estAte sHould not be easier on the eyes?

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 Ronny and Jeremy — great tips. I use the gain filter to pre-boost and then the volume bar with keys frames as needed. But on a long timeline shot at a conservative gain to allow for overhead I could see needing a global. Increase first.

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]

True unless you want his left hand in the image and them it would get easier using transform to play with what fits within a given frame. And you can keyframe it to create movement. There are times a video frame is not ideal for a given still.

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.