[Don Smith]

I would have saved the original multicam clip by double-clicking on the listed original clip and then slipping the audio angle into sync. If the audio is close to sync (but not IN sync) then highlight the audio and slide it using the period and comma keys (depending on direction). You can do this while the clip is playing so you can easily hear your progress.

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[Don Smith]

‘soft focus’ is when focusing is not at its sharpest. A slightly off-focus shot will blur the edges and will make the edges more difficult to key.

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[Don Smith]

Some good advice from the replies. I would like to ad that the shot looks soft-focus which can really affect edges.

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[Don Smith]

Zooming the timeline remains the same at Shift-(plus or minus) as long as the timeline is the active window.

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[Don Smith]

I really like the magnetic timeline. I now depend on it and it would hurt my brain to back. However, there’s one area that continues to confuse me and that’s moving layers up and down. I sometimes get unexpected results. Yes, I’ll move with the shift key to keep it vertically aligned but still will (sometimes) get unpredictable results. My wish if for a keyboard command where I could hight a clip and, with the keyboard, simply move it up and down among other connected clips.

What I REALLY want, though, is to understand what’s happening and how to control it but I can’t find an explanation for what the interface is thinking.

Don

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[Don Smith]

I see you haven’t read or watched a tutorial about the update and its changes.

Apparently as requested by users the action of the playhead has been changed to be the opposite of what it was. Most users wanted the playhead to stay where it was most of the time so the action between selecting a clip and the playhead has been reversed. Now, the playhead stays where you parked it unless you press the Option key when you make your clip selection.

As for the Share monitor it is where it’s always been. Just click on the progress circle next to the timecode display in the middle of the interface just above the timeline. Sharing progress is in there. You know, that circle that tells you normally how rendering the timeline is progressing.

Steve Martin has an excellent video series for not much money on just the .6 update at RippleTraining.com, or you can read his excellent article for free at:

https://www.kenstone.net/fcp_homepage/fcp_x_first_look_06_martin.html

Don

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[Don Smith]

I think Jeremy is on to something. Thinking further, start with placing your ending and putting a gap clip between the end of the edit so far and the beginning of the ending. Then CONNECT your next edit to the beginning of the gap clip (or over the tail-end of the last edit of the main show). When you connect the next clip, you may know you can hold the G key and drag the second connected clip up against the first connected clip and they become one secondary storyline where you can roll edits and the like without affecting the timing on the primary storyline. Rinse and Repeat.

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[Don Smith]

Alex’s system will work but its far easier to create a new Motion project which allows any size you like and save it as a movie. Use the default 10 seconds. Really. Just create the new Motion Project, set its size and frame-rate and export.

Next, import it into a FCPX Event. Open that odd clip in its own timeline and edit away!

I’ve started a folder with odd-size clips for every need and I import that folder, or the size I need, into any Event where I’ll need an odd size. I did a 4×3 edit recently but it was 1920×1440, which was the size of the PowerPoint slides I was asked to conform to.

Now, don’t make the same initial mistake I did and simply start editing on one odd-size PowerPoint slide in its own timeline. The edit will go well. It’ll playback well with picture and sound, but it won’t export with sound. Why? Best I can figure is that using a picture to set the size doesn’t set a frame-rate by which sound can be attached to meter its playback. I don’t know. It’s my guess. But creating that Motion size template establishing a frame rate and once you use it to set your frame size, the sound and picture will exit and export perfectly.

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[Don Smith]

I may be misunderstanding of what you’re saying, but I get the impression that you started each project with a different setting for video and audio. If I’m correct, then it would be important to start each project with the same single clip to be sure that the settings adopted will be identical. Then, once you put other material into that storyline you can delete the original format-setting clip if desired.

But back to the problem at hand; if I’m right about one project having a setting different from the other then I could understand the audio time mis-match. Did you by chance begin one of the projects with a still? That might, maybe cause the audio problem in that if you open a still in the Browser into it’s own timeline (no project) and start editing, you’ll discover on export that the sound, which you heard all along, won’t be there. It seems the still didn’t establish a frame-rate for the audio to lock onto to. Or, some theory along those lines. I’m best-guessing here.

Instead of just pasting one project into the other, trying pasting-as-a-connected clip (in the menu somewhere).

Just throwing out some thoughts here.

Don

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[Don Smith]

Treat the MultiCam clip like any other and simply lay the new broll shot where you need it on top of the MC clip as an attached clip.

Or, you want that cut shot in your MC clip? Simply double-click the MC to open it in the timeline and add another copy of the clip that contains the broll shot that you want and then it’ll appear as a an angle in the angle editor. Cut to it as video only.

Don Smith
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