Eli Mavros
Forum Replies Created
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A good thing to do is to set an In and an out point on the section of music in the timeline, then press “Shift” and “\” keys to loop playback between those in and out points, and then as it is playing, shut your eyes listen to the music loop a couple of times and then press the “M” key on the beats, this will create markers on the beats where you pressed the M key, then you can align the clips you want to put in with those markers.
Best,
EliEli Mavros
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That’s true Jeremy, good point. I know it is stupid, but I generally try not to mod my keyboard layout, cuz I work on so many different machines at so many different companies…though I should start carrying my own button and keyboard layouts around with me on a usb stick.
Despite this, I still wish there were a way to drag the markers from the browser straight into the timeline without it creating new master clips. It would just be so much faster to get my selects into the timeline and not have to match frame the ones I use later. Oh well, guess I should submit a feature request.
Best,
EliEli Mavros
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Hey Rob,
Thanks for the response. I know about extending the markers, and what I am saying is that I wish I could drag these extended markers into the timeline and have them not be called “Marker 3 from…”, but rather just add those sections from the master clip. If you do F, it match frames to the original media, but not your actual marked up master clip…now with FCP 7 you can do “match frame to subclip parent” and this works on markers as well…but there is not keyboard shortcut for it that I know of, so kind of an inconvenience. The reason I wish there was another solution that didn’t treat the markers as these weird subclips/independent clips, is the FCP manual does not recommend dragging markers from the browser into the timeline for media management reasons…if they don’t recommend it, why would they give you the option and not make it make more sense how it treats the markers? Its dumb.
Best,
EliEli Mavros
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I’m with you Chris, I’ve been wondering about such a plug-in as well. There have been many occasions when this would have been very useful. I hope someone knows of a plug-in.
Best,
EliEli Mavros
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What they are asking you to do does not sound like a simple task in the slightest. If some of the people in frame are supposed to be cartoons and some not, or if only the people are supposed to be but the background isn’t, this is going to require you to rotoscope if it isn’t shot on green or blue screen. I assume you know what you are doing though, and if you do, you will know that the price you quoted is definitely not too high. I think the estimate of 2 hours is probably way off though, probably closer to the 16 hour side if you are indeed going to have to roto.
Eli Mavros
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Thanks Dave,
I figured as much. I always do too…I just wanted to double check. Don’t want my edit points to not hit their audio marks down the line if I have to use 44.1 (don’t even know if that would actually happen…ha)
Eli Mavros
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IMPORTANT: There is NO sync sound on this project, so I don’t have to worry about lip sync.
Eli Mavros
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The worst part is that I have actually used Red footage a fair amount, but for some reason every time I do a Red project it seems I’m try new workflows. You guys are right, I should have just made plane ol’ prores movies instead of using the Proxy flavor, but I wanted to test it out and also was just hoping for the editing to be zippy on my older macbook pro.
Eli Mavros
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They shot at the 3K flavor of 2:1 as well. If I drag a 2K clip into the timeline and have FCP conform the timeline to match its cool, but if I then try to drag one of the 3K clips in, it needs to be rendered. All the other projects I’ve done in Red were the 16×9 versions of 2K and 4K. I have done it with ProRes444 on a project and it worked great, this is actually my first time using the Proxy flavor of Prores. I am working off a g-Raid and laptop mainly, so I wanted it to be small and easy files…but nothing in life is easy I guess. What my game plan is I think is I’m making letterboxed 1920×1080 Prores (proxy) qts with REDrushes, and from what I’m told I can later conform it to the R3D files with Clip Finder pretty easily. I hope so at least…
Any comments/advice?
The thing that is boggling my mind is that the camera proxies aren’t able to be put into a timeline without rendering. I know I shouldn’t edit with them (as I have made this mistake when the camera was first release and there wasn’t really a good workflow in place), but I just wanted to be able to string them together to go through dailies with the director.
Thanks,
EliEli Mavros
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Apparently this stuff was all shot at a 2:1 aspect ratio, not 16×9. Could this be why I have having problems with putting different sized clips in the same timeline? How should I go about this? Should I make 1920×1080 letterboxed proxies?
Eli Mavros