[James Culbertson]

An RGB monitor calibration system is probably more applicable for most editors these days as most corporate, non-profit, and educational videos go to the web. Clients review intermediates almost exclusively via digital file on laptop or desktop. I personally use a Colorvision Spyder2Pro (which I originally purchased to help calibrate for photo printing). FCPX’s profile support should make this calibration process even more accurate.

I don’t do a lot of broadcast work. But the documentaries I have worked on are reviewed in the same way and don’t need a broadcast monitor until the online session which is usually elsewhere.

I do have an Matrox MXO2LE, but rarely find myself needing it these days.

I agree that those doing online broadcast work are out of luck until FCPX accommodates such output.

[James Culbertson]

Though if you click anywhere in the audio meters panel while playing in the timeline the peak readout will reset.

[James Culbertson]

I’m a bit confused as well. But FCPX appears to be using Soundtrack Pro’s model which also peaks at +6.

I threw Deftones “Elite” into FCP X and Soundtrack Pro. It peaks at between +1 and +2 in both. What is interesting is that if you place it in an FCP timeline and open the audio mixer it peaks at around the same levels there as well. Which makes me wonder if we all have been misinterpreting how FCP classic handles audio.

Or am I missing something significant?

[James Culbertson]

Agreed that it is slow.

Do you find that detaching the audio speeds this up for you? Seems kind of clunky in a different way.

Is there a way to reverse the detaching process?

[James Culbertson]

If you expand the clip and add a cross-dissolve transition it is video only.

Then you can overlap the audio and drag the audio-fader to create a mixed duration cross-dissolve.

Definitely clunky. But no need to detach audio.

[James Culbertson]

Yes, I remember that workflow. Thanks for that. And Alex’s sound-only dissolve effect is very useful in some circumstances.

But but for a mixed duration audio and video cross dissolve without detaching audio…

Is there some way of more efficiently creating the audio overlap in expanded view?

I’m assuming not.

[James Culbertson]

Do you want to confer with some of the other prolific creators of custom effects and come up with some kind of voluntary standard for this?

Then propose it to the community for feedback…?

[James Culbertson]

Seems like this brings up an issue of versioning and ownership. Should we as a community try to establish a way of identifying effects?

For instance having a text file in the effect folder that identifies the creator, creation date, version number, and even parameters that it includes…

[James Culbertson]

Ah, nice. Thanks.

[James Culbertson]

Not optimal for sure. But you could set the relative levels there than ride the mix of the two in the main timeline.

Get it close than go back once you have “locked” the edit and break apart clips to finesse.

Anyway, “don’t shoot the messenger” and all that…