Darren Roark
Forum Replies Created
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Ahh, my mistake. What info would you like to be able to see that isn’t shown?
Source timecode would be nice.
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[Tangier Clarke] “better reporting of what’s actually happening when FCP X is doing things rather than just a percentage number and progress bar.”
I can’t help with the relinking part but if you open the background tasks and toggle the arrow you can see what it’s doing.
On a Vimeo export for example you can toggle another arrow and it will show the encoding and uploading status bars.
screenshot2016-06-06at4.29.25pm.jpg
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I eally like Slice-X and Track-X from Coremelt.
It has Mocha tracking under the hood and a simple GUI, being that I am not a VFX whiz it’s nice to be able to handle a lot of things I’d normally have to farm out. It also saves the trouble of leaving FCP X to go to Motion.
For a live comedy special the director wanted to remove the exit signs on a moving camera, easy with the object remover in slice-x. Same thing with a camera operator filming offstage, easy to remove on the main camera crane shot.
Track-X is great for tracking muzzle flashes on machine guns, bullet hits on cars, you name it.
I think I’ve used it the most for screen replacements, phones, monitors, etc. It’s really handy for when the set decorators buy cheap monitors and they don’t account for the actor clacking away at a keyboard that start to wobble slightly.
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You want to keep the audio as it’s own angle, there isn’t any reason to sync to both cameras first. and it gets messy.
The method I use is to first give each camera an angle in the inspector. “A” for cam 1 “B” for cam 2 and for the audio file “Z” so it’s the bottom angle.
To save time, set the roles for your mics before you sync the clips if you plan on sending off to audio, it saves time later.
Then sync the multicam clips with these settings.
This is assuming you aren’t jam syncing timecode, if you did, then just uncheck audio and select timecode under angle sync.
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[Craig Alan] “This is a bit OT: but doesn’t the assistant editor follow the choices defined by the editor: technical and organizational ?”
Just like people FCP X ain’t perfect. This is just one of those things that an eye needs to be kept on.
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As far as I know you need to leave them in your ~/movies/Motion Templates folder.
What I’ve had to do when collaborating with others is copy the folder to the external drive and then copy whatever effects that don’t have installers over to the same locations inside the other computer’s motion tempates folder manually.
In some cases there were effects that were opened and modified in Motion so I had to get the other editor’s copy to get it to work.
There are a lot of people hoping there will be a way to media manage effects and generators with the library, myself included.
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Yep, it does that. Yikes, I thought this was a SnL issue but sure enough it did this even with a manually sync’d clip.
I turned over a 2X Red cam feature to Resolve and I had to set the project settings to the highest res clip for the reframing to come through in Resolve and even then not everything came through. (I fixed everything not knowing the place was just going to send it from Resolve to Lustre after transcoding to 2K DPX so it was all for not.)
Thanks for posting this.
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Just tried it, did the clip itself, the clip in a project and an event with the clip in a project. I can’t get it to do this. Could it be something about the file format of the clips? These are 5K Red epic clips that I had to manually set the weird resolution.
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[Robin S. Kurz] “If you also have the “Sound Dept.” plugin for Movie Slate, then you even get your clips with synced audio. That saves you minimum yet another day of work.”
Does it apply the mic track iXML labels like Sync N Link?
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Does this happen when you just create a sync’d clip in FCP X?
