[Doug Metz]

[Andrew Johnstone] “Thanks Doug, but I can’t see a link to the plugin that you mention.

Following your comment, I tried the following workflow:

1) highlight the two clips that I want to fade audio between (in this instance two lots of ambient sound)
2) detach the audio for each from the video clips
3) apply the dissolve transition to the edit between the audio clips.”

Hey Andy,

Here’s the link:
https://www.youtube.com/watch?time_continue=1&v=SuyymHkG2MA

The video above was done some time ago, so the interface looks a tad different, but you’ll get the idea. In case you don’t have Motion (it’s really useful, and inexpensive), I’ve included the transition in this post.

You can select a new default transition by right-clicking on the one you want, and selecting ‘Make Default’ at any time.

Start at the bottom of this page, and work your way up:
https://www.rippletraining.com/articles/category/free-video-editing-tutorials/

12637_audioonlycrossfade.zip.zip

Doug Metz

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[Doug Metz]

You can do it just fine. There’s even a keyboard shortcut and everything! For audio-only clips, it works just as you’d expect.

The gotcha is that if you have your audio and video in the same clip, which is pretty common, applying a crossfade applies to both audio and video of the representative clips. Not ideal if you only want to crossfade the audio. It would be nice if there were a toggle in the inspector to select just one or the other, or both.

I’ve built the audio-only crossfade plugin referenced above (took 15 seconds), and can apply that just as easily as the standard one. Super easy to set it as the default, too, if that’s what you’re into.

Doug Metz

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[Doug Metz]

Hi Ray,

What you are describing, from a video production standpoint, would be very costly, hideously time consuming, and would almost certainly result in poor visual quality.

In your situation, I would instead focus on getting good remote sound. Start with a good mic, maybe an LR Baggs Lyric or something similar, which is installed in your guitar. You could then use a portable audio recorder and sync to the video before you edit, or take your chances with a wireless system to transmit directly to camera.

Focusing on getting better audio while shooting the performance would be far less expensive, much better quality, and really quick.

Doug Metz

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[Doug Metz]

Interesting. Does your timeline start at 00:00:00:00?

Doug Metz

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[Doug Metz]

[James Ewart] “what would be useful would be a shortcut “reveal in project timeline””

+1

If Final Cut knows that a clip in use somewhere in a particular Library (even if it isn’t in the active Project), it should be possible to identify which Projects are using the clip.

Sending feedback now.

Doug Metz

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[Doug Metz]

There’s a built-in Generator called ‘Counting’ which may do what you want, though you’d have to animate the motion you want with keyframes… In the image below, I’ve entered 10 million for the end number, FYI. On the video tab of the inspector, I just keyframed the scale. Text stays nice and crisp.

Some of the formatting options are entertaining, too:

Doug Metz

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[Doug Metz]

[Joe Heslin] “Everything was just about right, but I needed to move a separate audio clip over just a hair.
Since in was connected, I couldn’t get it to move.”

This sounds like a case of ‘Snapping’ preventing minor adjustments… you can toggle it On and Off with the N key. When it’s off, tiny adjustments are a snap. Ha!

Doug Metz

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[Doug Metz]

PremiumBeat has great playback / navigation controls with keyboard control. Set the timeline to loop, and preview ’til your ears can’t take any more!

Doug Metz

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[Doug Metz]

I’ve had a pretty good success rate. It doesn’t -always- work, but most of the time it’s really great.

In many of the cases where it’s been spotty, the trouble has been with footage that’s been modified previously – for instance, shot at 24p and added to a 29.97 timeline (or vice versa), and then exported and re-used. In those cases, you’ve either got duplicate frames interspersed, or frames missing where the jump in action varies between frames.

Where’s Joe when you need him? :^)

Doug Metz

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[Doug Metz]

I’m not sure if there’s a difference, but maybe… do you get the same results in your FCPX timeline with optical flow as you did in Motion? I’ve had (mostly) great results with it, but haven’t tried retiming in Motion.

Barring that, you might have a look at RE:Vision’s Twixtor.

A sample of the footage you’re trying to retime would help, if you can post it somewhere.

Doug Metz

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