Don Smith
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The driver for Sony XDCAM supporting Mac OS X High Sierra is out on Sony’s Japanese page here:
https://www.sony.jp/xdcam/support/download/drive_software_download.html
NewsVideo.com
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I’m monitoring the Japanese site to see when Sony will update its XDCAM driver. v5.0.8 is not High Sierra compatible. When the number increments higher, then it’s likely ready for High Sierra.
https://www.sony.jp/xdcam/support/download/drive_software_download.html
NewsVideo.com
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Jerry, Kannan said exactly what I wanted to say and he did it very well. I just want to emphasize a couple of his points. The first is to forget everything you know about NLE’s. Every. Thing. The Magnetic Timeline, as Kannan said, will be frustrating at first. Frustrating! You’ll do a lot of “WHY does it not do what I expect?” Well, if what you expect is what track-based NLE’s do then, yes, you’ll pull your hair out. FCPX is a praradigm shift. Paradigm. Shift. It’s a different World View that, once you ‘get it’, you’ll never go back. Right now you’re a tribal witch doctor trying to heal your sick people. Afterward, you’ll be the trained physician butting heads against those who are trying to use FCPX as a track-based editor. But, please persevere. At some point the clouds will part and the sun will shine rays upon you and you’ll be enlightened. And, you’ll edit faster than you have ever edited in your life. Faster!
You can, if you want, make FCPX slow down and work like a track-based editor. I know people who are working on FCPX but don’t invest in actually learning it because they’re just using it in a familiar way, but clicking around until they are doing something akin to track-based editing. Please invest in some larn-ning.
RippleTraining.com is, in my opinion (and I have no connection with the company), the best. Not only do i buy every FCPX and Motion tutorial they put out, but they do a weekly free tip called MacBreak Studio. If you go to their YouTube channel to see the catalog of past MBS’s and start watching them, you’ll be amazed. It’s a free insight to magic that is Final Cut Pro X. And, you’ll discover Motion. No, it doesn’t have the high-end power of After Effects, but it’ll do everything that the vast majority of us need and you can easily create your own effects for FCPX that are automatically installed. I’ve created about a dozen effects for my needs so far.
The biggest benefit of doing RippleTraining.com, aside from the excellent content of the training material, is the way they give you access to your purchased tutorials. They are all online and accessible anytime and anywhere. All this and you can still download your tutorials, unlocked, to your local disk. I rarely have to do that though because wherever I go I can quickly access any of my tutorials and get reminded about a process.
So, forget about what you know and open your mind. You will be rewarded. Do not try to ‘click around’ to learn because you’ll just drift into old habits and conform FCPX into a track-based editor. Learn. Learn. Learn. I study FCPX and Motion every day. Every. Day. – Don Smith, NewsVideo.com
NewsVideo.com
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I do a lot of subtitling where I copy text from a spreadsheet and paste into a text object. That text object spans the entire length of the video ready to format and bite off a little, format and bite off a little ands of forth. That text object is only formatted with the font and font size and then it remains for me to format new text placed into that text object. Once text is pasted (the whole script so I can format the top three lines, then delete those and let the next group bible to the top), I’ll put in line breaks to create three lines of subtitle text. I play video until the subtitle runs its course then I blade the text object and option click to put the playhead into the text object still remaining. Except, with 10.3, the text in the remaining object loses its formatting at that blading moment! Keep in mind that the whole remaining text object had its first three lines formatted and all I did was blade off a little piece of it. By losing its line breaks I now have to search for where I left off to format the next three lines. Sounds trivial but its truly a pain and adds significantly to the time required to subtitle. I used to scream through this process.
NewsVideo.com
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I once was baffled by the inability to move one clip on an angle without affecting a second clip on the same angle. How did i get into this ‘mode’? I reviewed Mark Spencer’s excellent tutorial ‘Multicam Editing in Final Cut Pro X’ and while he doesn’t speak to exactly what conditions lock clip relationships within the same angle, it was clear by one example that executing one type of sync will affect all clips on the same angle. In his example, he had two Steadicam clips on the same angle. If you have that tutorial, the section I’m referring to is Chapter 13 starting a five minutes in. The first clip was in sync while the second was not. Now, I’m following along because I had downloaded the media for the lesson and I found that I could reposition the second clip without affecting the first. In other words, I could not recreate that time when I couldn’t figure out why moving one angle was affecting the other angle that also locked me out of all other methods of manipulating a single clip on an angle with more than one clip. Mark showed, however, one method of sync’ing that errant clip with a Monitoring Angle can affect all clips on the angle where you’re trying to fix just one clip. Make a clip a Monitoring Angle, use it’s drop-down men to select “Sync to Monitoring Angle…”. Notice the ‘dot dot dot’ at the end. You may know from being a Mac user that those three dots means there’s another step to come before the action takes place. Selecting that option on a monitoring angle gives you a two-up display and, with Clip Skimming enabled, you are now free to choose any clip, skim to a frame you want to sync with the playhead position on the monitoring angle and click. That chosen clip frame will cause the whole clip to pop into sync with the Monitoring angle. Select ‘Done’. However, if you just sync’d a clip on an angle that has other clips on the same angle, those other clips will also move! To sync the others that moved select them individually and Sync Selected Clip to Monitoring Angle. So, I guess I’m saying with many words of explanation, that trying to move or manipulate one clip but being denied can depend on the operation mode you may be in. Normally, you will be free to manipulate one clip on an angle without affecting other clips on the same angle. I hope I’ve made sense here.
NewsVideo.com
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Looking at the audio components is exactly what I’m talking about.
For a sequence of events I haven’t fully understood yet, those components turned blue. Normally, I like to step into a clip and, looking at the audio components, delete the channels that have no use. Or, in the case of duplicating a clip, delete all audio components except for one of the two people on camera, and on the copy, delete all audio components except for the other person speaking.
That way, I can switch Audio/Video between the two angles to switch the audio without changing the picture. Then it’s easy to drop down the audio of one angle to pull the end over the other angle where the two people will momentarily speak at the same time. Otherwise, only one (active) mic is open at a time thus reducing the room the non-needed mic introduces.
Right now, I’ve solved the problem by removing the audio filter that was on a clip inside the multicam but I can’t reverse the process and see the audio components turn blue as I had seen before. However, I can replicate the halting, constantly re-rendering audio playback problems by putting the audio filter back on the clip inside the MultiCam. I didn’t want to say the name of the audio filter before but it appears that it’s the only one giving me this problem so I’ll tell you it is CrumplePop’s DeNoise filter. I love this audio filter and use it all the time without a problem outside of a MultiCam clip. I had used it inside the MC because I like to condition the clips to edit in right the first time without having to treat the clips individually in the timeline.
I may have more information later today after I return to work and see the original MC edit.
NewsVideo.com
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FOUND THE PROBLEM!
I had added a denoise audio filter to clips that went inside the MultiCam clip.
My theory is that adding the filter (probably any audio filter) to the clip UNIFIES the sound channels inside that clip so that they can no longer appear independently if you were to step inside the clip (open the clip in its own timeline).
If the audio clips are BLUE when you open a clip in its own timeline they are unified (my term). When they are GREEN, then they can be individually deleted and otherwise manipulated. Plus, trying to edit a MultiCam clip when it’s clips inside are embedded with an audio filter that unifies the audio channels is a NIGHTMARE that caused my MultiCam edit to pause to re-rending audio with every angle change while editing the MultiCam clip.
Don Smith
NewsVideo.comNewsVideo.com
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More information: The audio rendering problem for the MultiCam clip is constantly present even without trying to change angles. No problem with single clips. Just the MC. I mean, if I just zoom in on the MC and then CMD-Z to see the whole timeline the audio has to render again for a while.
I’m on the latest Mac Pro with the latest OS and the latest version of FCPX. I have the D700 graphic cards and 64GB of RAM. In shorter words, the equipment, OS, and app are all the latest plus plenty of RAM.
No audio render problem in normal editing. None. The audio rendering problem is only with a MultiCam clip.
NewsVideo.com
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I work with two tracks of audio on one camera in a multicam all the time. Most often, I have a wide two-shot and the mic/guy on the left goes to Channel 1 and the mic/guy on the right goes to Channel 2.
I simply duplicate the angle! One copy of the angle I modify to have only the left audio and the other angle only has the right audio enabled.
Now, I can cut using the Audio/Video mode and the audio track will change but what you see won’t even though you’re seeing video on the duplicate clip now. Really simplies things.
So, what happens when the two guys briefly talk over each other? I double click on the MC edit in the timeline to make the audio track pop out and I extend the audio of one side of the edit over the part of the other side where both are talking at the same time.
Using this method lets me easily avoid having both mic’s up at the same time which would add room tone to the final audio.
Don Smith – NewsVideo.com
NewsVideo.com
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It maybe possible to Rig the Title Background and Publish a control to make the Title Background active or inactive but I haven’t tried to do that. I might experiment with that.
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