[Doug Metz]

I’ve had good luck with free-run DV / Firewire capture using the ancient, but still functioning, Vidi.app:
https://www.mitzpettel.com

Hasn’t been updated in forever, but still works (for now).

Doug Metz

Dalton Agency

[Doug Metz]

{ Ivan Nabereznyj } – Alternatively is there a way to export as and .mov file? Maybe that would embed the TC properly.

I just had a go at this – with your start time edited to your beginning BITC, exporting as .mov does the trick!

Doug Metz

Dalton Agency

[Doug Metz]

EDIT – misread OP. Whoops!

[Doug Metz]

[Yair Bartal] “If sync by audio fails and I want to sync by 1st marker on the angle, it doesn’t make sense to put a 1st marker on all three clips since the two short ones have the same angle.
So, how does FCPX go about syncing by the 1st marker in this case?”

In this case, you’d put a marker on CamA Clip 1, and CamB Clip 1 (no marker on CamB Clip 2), and create your Multicam clip with all 3. See where the third clip lands in the angle editor and adjust manually if necessary.

Doug Metz

Dalton Agency

[Doug Metz]

[Philip Nidler] “I was meant to say that I want to ENABLE this auto-dragging tool not the other way around ☺ So what you are saying is that i might have the clips in the wrong storyline? To make it clear, i want to make the clip automatically snap to the other clips.”

Yes, I understand what you’re trying to do. You haven’t disabled anything – you have a fundamental misunderstanding of how FCPX works, but that’s easy enough to overcome. Some additional training would be a really good idea, and will make things move quicker for you in the long run.

Your music is in the primary storyline, which is fine if you know when and why you might want it there, but generally speaking, you’ll want your video clips in the primary storyline… you can create secondary storylines by selecting connected clips and grouping them, but again, you should know when and why you’d want to do that, and the ways that secondaries are different from the primary.

My earlier instructions will get your edit back ‘on track’ (Ha!), and the magnetic timeline will then work the way you think it should. ☺

Hope this helps!

Doug Metz

Dalton Agency

[Doug Metz]

Hey Philip,

The behavior you’re seeing is normal – connected clips only move with the clip they’re attached to in the primary storyline (unless they’re grouped into a secondary storyline).

To get where you want to be, you first need to get that music track out of the primary and get your footage into it.
1. Select the music track, go to the Edit menu, and select ‘Lift from Storyline’. This will lift the music track up, and leaves all of your footage connected to a Gap Clip.
2. Drag the music track below the gap clip
3. Select your video clips that are attached above the gap clip
4. Go to the Edit menu and select ‘Overwrite to Primary Storyline’

Doug Metz

Dalton Agency

[Doug Metz]

[Mark Vivian] “Is it possible to import and place a 3D modeled lens onto of your video to distort it?”

Not directly, no. You could try to rig something up in Motion and make your own… but have a look at the Fisheye filter – it may get the look you’re after.

Doug Metz

Dalton+Anode

[Doug Metz]

[Allan Fowler] “Good Afternoon,
I have just uploaded some video from my Canon XH G1 to final cut pro x.”

Hi Allan,

That’s an HDV camera – what is your process to get footage into FCPX from tape? This may help answer some of the other questions.

Doug Metz

Dalton+Anode

[Doug Metz]

Hey Rikki,

The Flow transition doesn’t have any visual / quality options, just the audio curves.

I’ve noticed, at least when I’ve used it, that I need to park the playhead over the Flow transition until it’s done analyzing (indicated by a little note in the the lower left corner of the viewer and the progress indicator at upper left). When I fail to do so, those transitions are indeed poor.

Try deleting one of your Flow instances, re-apply a new one, and park the playhead there for a few seconds.

Doug Metz

Dalton+Anode

[Doug Metz]

[Darren Ruddock] “I’m going for the following spec IMac..

27″ Retina 5K Display
3.6GHz 8-core 9th-generation Intel Core i9 processor, Turbo Boost up to 5.0GHz
8 GB of RAM (buy a 32 GB RAM upgrade from a 3rd party)

I’m toying with a 512ssd for the internal drive. I’d like to keep that really for current projects and then archive to external drives.”

I recently did the same for my home rig, but opted for the 1TB SSD. I keep all of my projects and media on an external Thunderbolt 2 RAID. I went with the larger internal SSD because I maintain large sound libraries… I try not to edit media on my boot disk, but others on this board do it without issue. With video, though, you can run out of space in a hurry.

[Darren Ruddock] “A couple of questions…

Can I run FCPX from the ssd but possibly, have my footage on an external and edit from there? Could I actually run FCPX from an external drive? I’m thinking, keeping the internal boot drive as clear as possible is always a good idea.

Same sorta question for Motion and After Effects, any ideas with those??

Also, If I did opted for a Fusion Drive instead of an ssd (save cash) can the Fusion be exchanged for an ssd at a later date??”

As Warren mentions, keep your apps in the Applications folder and your media on an external drive – the faster the better.

As for the internal SSD… when you order SSD from Apple, they install a proprietary NVMe stick which is crazy fast. The Fusion drive uses a small NVMe and a larger mechanical (slow) drive, which work in tandem as a single unit. They’re not especially quick, but not horrible either. You can get aftermarket SSDs to install in the iMac, but those will typically be SATA III, which are less than half the speed of the Apple-installed NVMe – plus, they’re difficult to install and will void your warranty. Get the Apple SSD and an external for media / edit.

Doug Metz

Dalton+Anode