[Glenn Payne]

To throw more elements into the mix some of my clips are multi-cam clips connected to Poly WAV audio files. It seems that I am not able to assign roles to those tracks via the inspector. There just isn’t an option.

I also have some clips that are compound clips with the Poly WAV files attached. (due to occasionally having to manually sync clips when the camera had no audio). These tracks do give me the option to assign roles when I detach the audio from the video.

[Glenn Payne]

Unfortunately, I don’t. :/

[Glenn Payne]

Jeremy,

Thanks so much for the great information! It’s been very helpful.

best,
Glenn

[Glenn Payne]

Thanks for the help, Jeremy!

I do have he full version. We’ve tried some tests but it just takes a bit to send then wait to hear back. Since you may know offhand. What do the X2Pro terms mean exactly in regards to fcpx?

I’m assuming DISABLED CLIPS is self explanatory. Shortcut “V” to disable a clip. then check that box and those won’t send.

Do INACTIVE CLIPS refer to audio clips that you’ve muted in fcpx? So checking that box will keep those from being sent, correct?

I’ve been trying to find a way to mute multiple tracks in a poly WAV in fcpx then when it’s sent to Pro Tools via X2Pro have it show up on his end (in case he needed to use it for some reason) but have it muted so he sees that it isn’t my first preference out of the clips. Hopefully that makes sense.

That’s a good idea about the roles. I do have them set up on the timeline (could probably use a little work still). I’m curious if it’ll let me assign varying roles to audio tracks that are part of the same singular Poly WAV file. An idea that I’ve been trying to avoid is busting up each poly WAV file and then just manually lowering each piece that I need to. Although, I’d rather avoid that if I can. Seems chaotic when the whole poly WAV files are so tidy in the timeline.

[Glenn Payne]

Thanks for the advice, Oliver!

gp

[Glenn Payne]

Thanks so much, Jeremy!

That helps me out a ton. I found the options to disable or enable muted clips. I’m gonna send my mixer a test to see if the muted tracks remain (so he knows my preference but has them if needed).

You’ve been a huge help! ☺

Glenn

[Glenn Payne]

Oh wow! Thanks so much! I was aware of the “expand audio” but not “expand audio components.” It’s much appreciated!

I’m creating and XML then sending it to X2Pro to convert to AAF to send to my mixer.

[Glenn Payne]

I was wondering if that might be it.

Thanks!

[Glenn Payne]

There are some solid ideas in there, Joe. Thanks again for chiming in. The pre-roll random noises is a good point. Maybe that will help out. And hopefully the number of takes this happens on will be minimal. The vehicle element just made some of the situations more different than the usual.

If leaving the render at 422LT works then that’s great for me. I just didn’t know if I’d be losing any quality. I have two drives with footage from the shoot. One has tons of free space and runs smoothly and the other drive is packed and is running very sluggish. I’m assuming that’s due to the lack of free space on the drive so I’m sending a few reels from the packed one to the spacious one in hopes that’ll help things operate better.

Thanks again for all the info!

Glenn

[Glenn Payne]

I think I’m about ready to dive into the edit. At present, my plan is to use the multicam option to sync each individual piece of video with each individual piece of audio, while unchecking the box that says to create optimized media for multicam clips.

The footage is prores 4444 so under the rendering option I’ll select the 4444 setting and cut the footage as is, with no proxy or created optimized files. Does this sound workable to you guys??

I’ve discovered a new problem that makes my stomach turn. My team was running the mixer’s scratch track into the camera but occasionally they’d lose the feed. The film takes place in a car so the various mics were inside the vehicle with the actors. The camera was outside the car at times depending on the shot. So if we lost audio to the camera or were recording basically no sound on the outside of the car then I won’t be able to auto sync or really even manually sync the audio since the audio inside the car (with the mics) and the audio outside the car (camera audio) won’t match for syncing. The car was super sound proof so I’m not sure if you can even hear the slate clapping when the windows were rolled up. My only idea at the moment is to crank up the audio all the way so I can just barely make out the slate clapping, then visually sync it.

This should only be a problem when the windows are rolled up and no exterior sound can be heard. Hopefully it’s just a few clips here and there, but I won’t be sure until I really get into it. Can anyone think of a better way to go about syncing for the times where that happened? I’m sure it’s a bit confusing when typed out.

thanks,
GP