David Powell
Forum Replies Created
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PE3 is leaps and bounds over PE2 having used both.
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I think “dynamic” is a specific term describing real time trimming with “jkl”. Top and tail has been in Avid since long ago. I think its somewhat of a mistake to compare trimming in X to 7 since A. 7 isn’t a player going forward and b. The trimming in 7 was (is) awful. The proper comparison imo would be to Avid and PP. Less clicking from 7 to X perhaps but far more than Avid. I’ve yet to use PP so I can’t comment on it.
Top tail is only a “dream” in X if you’re working on a flat primary storyline. Because there are no tracks, one must always go back to the mouse, select the layer and then top tail edit. This is my main bone to pick with X is that I can’t select various layers from the keyboard to trim. Its all done from the mouse, so I’ve mapped all the hotkeys to the left hand side so that my right hand is always on the mouse. Funny enough I learned that from “Avid Agility.”
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Ooh sorry. No I don’t have a picture. That is the exact wording after the failed sync though. “inadequate audio”. fortunately it was easy to manually sync this sound file. It’s a problem though when it’s multiple video files, which happens often. I figured there was some limitation in mixing formats that I may not be aware of.
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That’s strange I can see it. But here it is again:
What are the limitations of FCP’s sync feature for multiclips? I have had video and audio only clips that I lined up in angle editor with extremely clean audio right on top of the matching sound and I get this message after a long unsuccessful syncing. Is there a problem mixing audio with various sample rates? Are there video limitations also?
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I never understood the use of these. Personally I have no use for the stock keyboard hotkeys. My keyboard is completely custom. The Tilde key is the only thing left of the original setup. Since I have to jump back and forth to Avid I have a some similar setup so that my instinct muscle memory doesnt do anything destructive, therefore V,B are always my insert/overwright.
Once you use your custom setup a couple days, you pretty much memorize everything.
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I did it this week and achieved a successful sync from plural eyes 3. Which is why I was wondering what the potential pitfall would be. Essentially it is the same as subclipping and transcoding as far as I can tell, but I am not deeply educated on how an AAF import would affect the clips differently.
Importing the audio is a great point to have brought up.
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Plural eyes 3 allows for AMA syncing. If you are laying out the clips on the timeline and subcipping them, what would be the advantage of transcoding before syncing? Wouldn’t transcoding afterwards give you a more trimmed down selection similar to creating selects before transcoding any other way?
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Ok so I’m not way of base. When you say “export out” do you mean out of plural eyes or do you mean you export each track at the highest quality and bring re-import them?
Also, is it possible to export multiple tracks as seperate files in one export? I’ve never seen it done but I figured Id ask
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Thanks shane, I realized that I lose the audio when I mixdown which would make the sycing more of a job. I was trying to do a FCP style plural eyes sync in which you send out a ref file for each track and reimport the ref. Much simpler when you can natively import a ref and cut.
Should I go the traditional sync map route, is there any reason I couldn’t create the intial sync via ama and transcode the subclips? Or should I do all the transcoding prior to subclipping everything?
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So the render folder has several sub-folders inside of it. Should I just delete at the “Render folder” level?
Yes there is a backup event.