Don Smith
Forum Replies Created
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I’ve encountered a number of people who are ‘disappointed’ in FCPX and it always comes back to expecting FCPX to be FCP7. But then, after they stick with it for a little longer, they suddenly ‘get it’ and are grateful for the power that comes in FCPX.
You don’t ‘get it’ yet and I don’t mean that as an insult. I’m just telling you from the perspective of being on the other side of ‘getting it’ that you are in for a great experience once you are assimilated. (sorry for the Borg reference!)
I see postings here on the forum similar to yours; WHY doesn’t FCPX work like FCP7? If it did then FCPX would simply be FCP 8. Instead, editing was brought out of a 100-year-old paradigm and into the new millennium and I’m so grateful that Randy Ubillos and his team had the vision.
FCPX is a paradigm shift in editing. I was a fast editor before but FCPX has doubled my editing speed.
I know. It hurts the brain to adapt to the new way of editing but stay with it and you’ll have your ‘ah-HA!’ moment.
As for cutting out sections, you may be running into trouble because you are trying to force your clips into a FCP 7 arrangement. If so, then just let connected clips connect like they want to. Delete the section on the main storyline and anything connected to it goes away as well. You can also make connected clips connect elsewhere along its length by holding OPTION-COMMAND and clicking on the bottom of a connected clip. That way you may be able to make it stay or go away depending on what you do to the clip the connected clip is now attached to.
Don Smith
NewsVideo.comNewsVideo.com
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David has a good idea with the t-tap. Low cost for HDMI and SDI outputs. I have one.
But, do you know that you can easily see anything in FCPX full-screen? Just click on the little box with two arrows in it at the bottom right of the Viewer. One arrow points NW and the other points SE. Instant full-screen viewing. If you have a second monitor just go to the Window menu to put the Viewer on the other screen and see full-screen as you edit.
Devices like the t-tap are really for getting your video out of the computer and fed in real-time to either a recording device or to send out live via a sat truck or something and yes, you can use it to view on a connected monitor and that will sometimes help to make sure you are seeing both fields of a project with interlaced video but mostly the Viewer, enlarged, will meet your needs.
Don Smith
NewsVideo.comNewsVideo.com
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If you open the compound clip from the storyline then the greyed areas are your indication of what’s being used on the storyline. Instead, open the compound clip from the file browser. Whatever you change in the cc in the file browser version will also change in any child of that cc on the storyline. Test what I tell you with a small compound clip that was created just for testing. Take a couple of clips on the storyline, make them into a cc, it becomes listed in the File Browser, double-click on the cc in the file browser and make some changes and then check the cc on the storyline and you should see the file browser changes reflected on the storyline version.
Do you have snapping (n) turned on? You shouldn’t have to nudge frame-by-frame.
Don Smith
NewsVideo.comNewsVideo.com
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When was the last time you trashed your FCPX preferences?
I do it about once a month. I use the very nice and very free Preference Manager.
https://www.digitalrebellion.com/prefman/download.html
Trash your FCPX preferences and then let me know if there’s a change.
Don Smith
NewsVideo.comNewsVideo.com
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If you see two events attached to your project then FCPX will check the one at the top. Possibly it’ll check the next one down if clips are missing but I don’t know that as a fact. I do know it will help to put the desired Event at the top of that list. Just drag.
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I paid $36 for iSkysoft Video Converter for the Mac and have had good luck with MTS files. Are they lossless? I don’t know but visually indistinguishable from the original. I convert them to ProRes.
You may not know but you want the original file structure because its those other files that will dictate which clips should be reassembled as one (spanning) so that you don’t have a clip ending in the middle of a word and you have to butt the next clip to it to get the full shot.
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Scott, just covering a base here, have you possibly renamed any part of the camera card that won’t import? FCPX is looking for a particular file structure. Compare folder names with a card that worked.
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FCPX wants to convert DSLR footage to ProRes for easy editing. If space is limited import from the camera card. In most other instances you’ll get the option of copying the footage you’re importing every time you import. You’ll only want to copy and optimize footage that doesn’t edit will in its original format.
Since you already have the DSLR footage on your hard drive I would get a portable drive and move the DSLR footage to that THEN import from the portable drive so that FCPX can transcode to ProRes. Believe me, you’ll be happier while editing with ProRes footage.
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Joost, Try this: With the project CLOSED but selected, go to the info window and at the bottom there you’ll see the option to ‘point’ the project to the right Event. Makes sure the Project is pointing to the right Event before you go crazy and start relinking files that might cross Events.
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RE: “Why is that?”
I suspect it is because the two clips aren’t part of the same secondary (connected) video track.
Do they both have that ‘shelf’ that spans both clips and so both clips have ONE connection to the primary storyline? If not, then ‘bump’ one into the other by holding the ‘G’ key so that both clips have a common shelf. Now you can Roll the edit between the two clips.
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