David Powell
Forum Replies Created
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That is correct. There is no flattening function. And double clicking to move to the nest doesn’t land you on the clip’s timecode. You have to match frame copy the TC, enter the angle editor (nest) type in the tc, select range, copy the clip, go back to the timeline paste clip and stabilize. You cannot use optical flow on a multi clip either, for speed changes.
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In reply to Jeremy and James, FCP’s (7 and X) extend edit is not like PP and Avid. in FCP you must select an edit place your playhead and Shift X. This is totally inefficient and inorganic. in PP the parlance is “roll next/previous edit to playhead. This means i can hit play and just set a hotkey (“y” and “n” for me) so that as soon as the story hits a beat I hit “Y” and the previous edit rolls to that point live with no setup. You just hit play to the point where you want the edit to roll and one keystroke rolls it to the playhead. PP’s is actually the most fluid of the three as Avid requires an I/O stroke to make it work but its not much slower.
James in Avid when you’re going down the TL you hit U and the nearest edit is automatically selected and you’re in trim mode which gives you a 2 up display now you can use jkl and the edit will move live as you play. FCP 7 and PP have a clunkier version of it. In Avid if you hit the space bar it will continuously loop the edit point and you can trim left right or ripple live and it’ll update every loop until you you’ve nailed it. Hit “A” or “S” and now you’re on the next edit point ready to trim. And you can move down your whole rough cut and polish it effortlessly.
If you came from FCP7 and never used this it’s hard to appreciate how special it is. Similarly to how those who haven’t mastered the magnetic timeline can’t appreciate how special it is. It just sounds foreign to them. Btw, I sorely miss multiple BG exporting out of FCPX when I’m in another NLE. When you’re a lone ranger with one computer this is a huge deal. Not so much if you have a slew of them on a shared network perhaps.
Sorry if this went off topic Herb.
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[Herb Sevush] “in my case, most of my work is studio multicam where we sync to time code with virtually no start-stops of individual cameras, so this feature is of only minor interest. In my workflow I’m not looking for one long multicam with everything, I want each camera stop, where all 5 cameras start and stop together, to be a separate multiclip.”
I honestly wouldn’t give any advantage to FCPX for studio multi cam. In that regard it wouldn’t really any advantage over PP or Avid. FCPX’s multi cam poses more advantage for run and gun multi cam like docs and DSLR Weddings. However only in the syncing flexibility of the angel editor. Again the inability to to add audio effects inside the nest without making cut noises and inability to stabilize clips on the timeline actually gives it disadvantages even for these type of projects where it’s needed most.
Also if you attempt to nest a multi cam clip to create a source side out of a timeline (like a faux pancake edit) you lose all your marker information and when you cut it back into the timeline, all the angles are messed up. This means to create a non-linear highlight of a longer requires going back and forth from the beginning to the end of your edit. And because I/O points has changed to “range” you can’t use an in point as a place holder to quickly “go to in ” for speedy moving around in the timeline.
A few reasons why it’s been said that FCPX is fast on the front end but not so much faster during the edit in all cases. Though you really DO miss magnetic moving when you don’t have it.
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I would suggest watching a demo of how clips can be synced in the angle editor to any angle of your choosing after the fact, after an edit and the sync will be updated in the nest. Didn’t get to read all the posts in this thread but I think the ease in which you can do this in FCPX is pretty awesome. That being said, once I get to the timeline, I’m sorely missing an Avid/PP style extend edit among all the other trim features.
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You can change audio angles in the inspector simply by unchecking the channels you don’t want and the the ones you do want. You can also “expand audio components in the timeline” which will drop down all your audio sources in a track like manner. You can make volume adjustments or mute channels on a clip by clip basis.
You can also right click and change audio angles or program it to a hotkey.
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A disadvantage on the X side is that you cannot stabilize a multi cam clip on the timeline (storyline) Nor can you slow it down and use optical flow. If you use the put audio effects on clips in the nest (angle editor) you will hear a cut on every edit on your timeline.
An advantage is the implementation is really simple and easy to learn. It scrubs better than PP and the way it cuts angles makes more sense than how PP does it IMO. The setup process for PP’s Multicam when using multiple start stop clips is a little weirder to me. But I just have to get used to it. I’m still not confident on how the nesting works and adding angles after the fact in PP. X’s implementation is so straight forward, you could figure it all that out fairly easily.
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Just switched from a Kensington expert to a Wacom Intuos Pro. My hands will freeze up and go numb using a mouse. Wacom is the only way I can work pain free. I love it.
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Thanks Jeremy. I figured out how. That will save me a lot of time as I only need to proxy the multi cam clips the rest I just want to bring in Native.
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Truth is I just want to get further mastery of it. It’s the one nle I don’t know like the back of my hand so I want to do the remaining projects of the year on it.
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I got 16gigs. They wouldn’t play back in X unless I transcode to proxy which is easy. I figured 1/8 res would work fine in pp. Not even close.