David Eaks
Forum Replies Created
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FWIW, I keep a 2TB LaCie D2 Quadra 100% dedicated to only original camera card backups. I’ll transcode to Prores from this drive to my Media Drives. Adds an extra layer of redundancy to keep this drive of card backups “on the side” as well as normal working drives and backup. If keeping these files even might be important for paid work, there is no excuse for not buying more storage. As Bill mentioned, storage is not expensive.
Unless I’m confused, the original media isn’t in the proxy folder. Did you do both Optimize and Create Proxy? If so, you now have 3 versions of your video eatin up hard drive space. I still use FCP 7 Log and Transfer to create Prores, FCP X Optimize seems so slow (on my 2008 8-core)!
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Don’t buy the current Mac Pro, it is far outdated and way overpriced. I’m waiting to see what they do in 2013. I would hate to be in the position of NEEDING a new Mac right now, if you can, wait. Hopefully the “real” new Mac Pro (or it’s replacement) will be a viable solution…
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[Tony Sarafoski] “simply select all the clips within the multi-cam editor (cmd+A), then paste back in your project.
Yup, I should have thought of that! Good call, thanks Tony.
[Don Smith] “Shot in the dark here…
Among my 20 or so attempts, I had the same idea but still got the same results. Thanks for shootin’
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I always thought of finalizing as “closing” the remaining space, but with no technical basis for the assumption. Avoid the yellow composite cable if possible. While changing tapes the DVD recorder should still get a signal, so you shouldn’t have to pause it. Test your workflow before the job.
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Based on my experiences, about 4 minutes if the disc is near full capacity. Finalize time increases with space ramaining.
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[Jeremy Garchow] “Does that long video clip have audio?”
Yes, it’s the camera mic and is much further from the source. Which is the same situation as the project that worked perfectly before.
[Jim Waterwash] “Maybe make sure the audio formats are the same? 44 vs 48, etc”
The original .wav audio clips are 44.1khz and the video is 48khz. I did make 48khz .aiff’s in compressor, but it’s the same result either way.
When it worked the first time, before synchronizing I selected all the audio clips and opened the info pane to enter Camera Name- audio and Camera Angle- 2. Same for the video clip, Name- video Angle- 1. I thought for sure this function’s results would easily be reproducible, after being so easy the first time.
I can get it to sync in a Multicam Clip… but I need to mix the two sources.
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Try this- Config> in convert> 720, out convert> none, SDI out> file format. Assuming its the same as the KiPro.
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In your timeline, err… Project, select all your clips then right click one of them. Go to Active Audio Angle and choose one of them. This is assuming that you want all of your edit to use the same audio track. If you want to use a mix of all three audio tracks that you tweaked in the multicam editor, well, you can’t. FCPX Multicam only let’s you use one audio angle at a time. This happened to me when I finished my first multicam edit, needing the two audio sources as I had tweaked in the multicam editor. My quick and dirty workaround was to layer a copy of my multicam edit on top of itself (select all, hold option and drag the clips up to V2). Using one multicam edit for each audio source (I had 2). Hopefully this will be fixed in the next update, giving us the option to choose more than one active audio angle.
Another workaround is to create a compound clip with all your audio sources, mix them, and add the compound clip as a new angle in your multicam clip. Then use that as the audio in your edit.
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FWIW here’s a description of a Prores 422 vs Prores LT test I did.
During setup for a video shoot I recorded two clips to my AJA KiPro in 1080. The angle was one of my Sony NX5s on a locked down mid shot of the stage, with crew waking around and putting up the set. First clip was Prores 422, second was Prores LT. When I got back, I placed the 422 clip in a FCP 7 timeline then layed the LT clip on top of it. Then I key framed several crop movements from left to right and back on the LT clip to reveal the 422 beneath it. Exported self-contained current settings and placed the clip in the AJA folder of the KiPro drive for playback. Viewing the playback on my 65″ TV via HDMI, watching closely as the crop line moved across the screen. The crop line was only visible in the parts of the image that had changed from one clip to the other, as in a person was standing there in one clip but not the other clip. The crop line completely disappeared in the parts of the image that had remained the same, as in set pieces that were not moved between clips. Holding my hands in front of my face to only see the areas that remained static between clips, I was unable to make out any change as the “invisible” crop line went back and fourth.
Same results with external monitoring timeline playback via Matrox MXO2 to an HDMI tv. Also same results with a Prores LT timeline and the 422 clip on top revealing the LT clip.
From this very simple test I determined that Prores LT is good enough for me and my workflow. No perceptable visual difference, smaller file size. YMMV.
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FYI this is the FCP 7 and prior forum, this thread should be posted in the FCPX Tecniques forum.
What kind of editing has been done to camera 1 so far? If its just color correction, effects, audio adjustments etc I think you could put your edited clip into a compound clip, then use that as one angle along with camera 2 and be good to go. If camera 1 has been cut up it’s not going to be in sync after the first cut. I don’t think FCP will automatically break apart your compound clip to match the pieces up with camera 2. If you can manually break apart the compound clip from within the angle editor, set camera 2 as the monitoring angle, then individually sync each camera 1 cut to the monitoring angle… It might work but camera 1 would have gaps at every cut (which could function as reference points to cut camera 2 at the same places). Might be better off starting with a fresh multicam clip though. I don’t know, I’m still getting a grip on FCPX myself.
On another note, keep in mind that you can’t mix the audio from different angles in a multican clip, only switch from the audio of one angle to another. You can premix an audio-only compound clip to be used as its own angle in the multicam clip if need be.