[Doug Metz]

[Eleanor church] “I imported some C300 footage into FCPX. I don’t have the original cards just what was imported into FCPX.

I tried importing this footage in Premiere but it only reads it as a single audio track – no video. “

I has questions:
1. Did you re-wrap or transcode the footage prior to ingest?
2. Does everything look as it should inside FCPX, including number/config of audio channels?
3. Where are the files that you tried to import directly into PPr?
4. What versions for OS / FCPX?
5. Do you have VideoSpec or something similar? It’s a small app that analyses media files and shows detailed information about tracks, encoding, container, bitrates, etc.

Doug Metz

Dalton+Anode

[Doug Metz]

I use JES Deinterlacer for this kind of thing.

It’s dependent on the old QuickTime framework, and works beautifully (for now). Unfortunately, the dev has passed and the site taken down, so I’m not sure where you’d find a clean copy unless I were to post one here. Last release is v3.8.5a5, weighs in at 7.7MB.

Doug Metz

Dalton+Anode

[Doug Metz]

I don’t think YouTube is doing anything special. This sounds like perfectly normal, heavy-handed compression.

Doug Metz

Dalton+Anode

[Doug Metz]

[Joe Marler] “That is the best approach if they will relink. However there are lots of factors that may preclude that. FCPX is very picky about what it will relink.”

It’s been quite some time since I tried relinking to something other than the original file… and hadn’t given it serious consideration since then, due to my zero percent success rate on the first several attempts.

Doug Metz

Dalton+Anode

[Doug Metz]

That warning is normal, and that’s why I went with the caveat. I tried it just before I posted.

Doug Metz

Dalton+Anode

[Doug Metz]

There is a way, but I’m not sure it’s a good idea… the markers and ranges are associated with the container of the original clip in the browser. You can open the clip and add the high-res clip inside the low-res container as a connected clip, or replacing the original. The original container with ranges and markers will then simply ‘be’ the high-res.

1. Select the low res clip in the browser, and clear selected ranges (option X, or Mark menu / clear selected ranges)
2. Select ‘Open Clip’ from the Clip menu
3. Add the high-res clip – it’ll need to be the same duration and frame rate so your ranges make sense. Overwrite to the primary storyline, or connect above and disable the low-res.

Again, I’m not sure this is a good idea. But it does work.

Doug Metz

Dalton+Anode

[Doug Metz]

[brianlaz] “Oh. My. God.
That is IT!!
So brilliant. I had an alpha channel so I did silhouette alpha for the blend of the lower clip. Worked perfectly.
I’m assuming (fingers crossed) I can do the same with compound clips so I can have multiple layers going on in each space. But so far, that TOTALLY nailed it, thank you so much.
Curious, which did you see first, my post or the video? It’s amazing because his video isn’t even about this technique, it’s tangential to using all the shutterstock stuff.
Thanks again!
I’m also assuming (fingers crossed again) that it’s the same kind of deal in Motion. When I have time later I’ll mess around.”

Glad to help! I happened to see that video yesterday – I didn’t find your post until this afternoon and immediately posted the link. It felt serendipitous, really.

Doug Metz

Dalton+Anode

[Doug Metz]

[Doug Metz] “That’s why I edit with the compound clip”

[Oliver Peters]“OK, I see, you compound the track first and then edit with that as the source. I work differently. I build the edits and then compound that so I have a single edited track to length.”

I keep it together by placing the compound in a secondary storyline. Makes cross-fades and trimming nice and easy.

[Doug Metz] “your edits won’t be correct because the wav and mp3 files may not start at exactly the same time”

[Oliver Peters]“I’m not entirely sure you’ll get a relink in that situation.”

Maybe I’ll give it a go – I’ve only seen a few tracks that were off, and those were mostly from the same source. Still a little leery about relinking different file types though. :^)

Doug Metz

Dalton+Anode

[Doug Metz]

[Oliver Peters] “Then you have to go segment by segment and make sure to match the correct edit points. Relinking solves all of that. But yes, if you can’t get relinking to work, then that’s the only way.”

No, you don’t have to check anything. That’s why I edit with the compound clip, and not the original mp3. Edits all match, and you can line up the wav with the mp3 down to the sample so your cuts are truly retained.

Edit: Additionally, relinking introduces the possibility that your edits won’t be correct because the wav and mp3 files may not start at exactly the same time.

Doug Metz

Dalton+Anode

[Doug Metz]

Steve at Ripple just did a video tutorial you’ll want to look at, and covers exactly what you’re trying to do:

https://www.rippletraining.com/articles/free-final-cut-pro-video-tutorials/2019/03/29/shutterstock-video-editor-toolkit/

Short answer -at 2:00 in the video above- :
In FCPX, place one of your clips on the primary storyline.
Place your image mask (B&W) on top of that, set it’s Compositing Blend Mode to Silhouette Luma
Place your second clip above the mask, set it’s Blend Mode to Behind

Edit – No need for keying or compound clips, either!

Doug Metz

Dalton+Anode