James Villeneuve
1
COW Coin
Forum Replies Created
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Thanks for the input, fellas. Looks like my friend is going with the iMac with some fast storage. I think that’s the best choice based on my own assumptions and your knowledge. So, it’s a happy ending.
Have a good one!
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Hi. Thanks for responding. In the end, I did spend some more time getting to know the ins and outs of Red Raw files and fixed things more than I thought I could. But the shots in question really were very low light so I still needed to use the Neat Noise plugin. But everything worked out really well in the end.
I learned a LOT about the advantages of editing in FCPX with Red Raw (I could access Raw settings right inside the program) and that knowledge will definitely help me in less challenging situations.
Have a great day.
James.
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Thanks for your advice. I appreciate your time.
I’ll approach things the way you’ve advised. I will say this, though…
holy smokes, Neat Video plugin is a miraculous technology sent from the distant future. It’s incredibly effective.
Have a great day.
James.
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Hi there.
I’m sorry I don’t have a solution but I’ve have the EXACT same problem with my Mac Tube. Fresh Yosemite and latest FCPX. So, you aren’t crazy and neither is your computer set up. Very annoying as I have to crash the program repeatedly to get through Batch Rename work.
I hope someone posts a great solution for your class and my edit suite.
James.
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Yep. The ‘awesome shit’ in FCPX for me had little to do with multicam for me at first but I just had a couple of great experiences with it so it was added to the pile. Maybe it would be helpful for you for me to describe my experience…
A co-editor of mine put together a four cam multicam very rough cut of cockpit footage from an aerobatic flight. I cut the flight down and edited cockpit conversations so it was more engaging. When I had a length of multiclip on the timeline I would play through the content and when I wanted to switch camera I would simply press a number key that corresponded to the video angle (1,2,3 or 4). You can do it on the fly or by right clicking. You can also change audio angles independently of picture, obviously. On the timeline I’m able to disable or enable any number of audio tracks from within the multicam clip. I colour corrected the gopro shots inside of the multicam clip rather than shot by shot on the timeline. It wasn’t for broadcast so I didn’t have to worry about a multitude of issues that you worry about for your television work.
In short, my experience was probably comparable to someone using Premiere. Except for all the other awesome shit. Someone like you who has such a specific need/workflow with multicam needs to try both programs (do a 30 second multicam project on each program). I’d love to hear you tell me what the pros and cons are of each NLE’s multicam process because you’d probably be much better equipped to identify the pertinent issues with each program….
So, I’ll just wait for you to get those 30 second projects done. Take your time. I’m patient.
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Thanks for clarifying. Yes. I am aware that multicam is like a compound sequence. For a second I wasn’t sure if that’s what you were talking about. So, with that cleared up, then the rather wordy workaround response I originally gave you would help you with that if you wanted to make multicam clip changes for one sequence but not have it affect the other. ALRIGHTY THEN!
Good chatting with you and I hope that little workaround helps you out sometime in the future.
In regards to the original poster’s question about the advantage of multicam in FCPX vs other software:
As an editor who spent 10 years working in media composer and FCP Legacy before trying X just for fun (and then falling in love with it) I would say this – I can’t imagine that any one of the major NLE systems is going to be THAT much more advantageous than the other. I’m sure each person can find what works for their workflows. I would frame my answer as follows…
It doesn’t matter to me if the multicam function on FCPX isn’t perfectly suited to my needs. I think that any shortcomings it might have are offset by all the other awesome shit in that program (especially the new editing paradigm – metadata/organization – roles). So, no matter what you find out from this very knowledgable crowd, I don’t think you should base any final NLE decisions on just that one function. I’m sorry I don’t have anything more helpful than that to add. I’m just not that familiar with the minutia of the multicam functions of the major NLEs.
If anyone else would like me to tell them how to live their lives, I’m here all night! Try the veal!
James.
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I agree that flattening multicam would be awesome.
But I must ask… are you saying that you would make editorial changes one project (timeline) – and those changes would be reflected on the other project (timeline)? If so, that’s crazy! Or maybe you were editing a compound clip? Sorry to be a bother, but I’m really curious to see if that was the case or I’m misunderstanding…
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Hey Bret,
In regards to your problem with the single multicam reference across different timelines…
I think I know how you could deal with that. I came across your ‘multicam problem’ in a different situation. I was working on a project with someone. We had identical libraries and we were sending each other xmls of our work. But things got weird when he updated a multicam with some new angles and then used it on a new timeline. When he sent me that timeline/xml and I imported it… the multicam clip on his new timeline didn’t have his added angles. I realized his xml was still referencing the original multicam clip in my library. So the first multicam was the only thing that would register. His updated multicam clip was confused by FCPX with the older one. SO, I managed to fix that problem, thusly…
what I did was create a new, empty library and imported the xml into that one. The project popped in and was, of course, off line. Then, I created a second, empty event in the new library. I dragged the offline project into the new library. for some wonderful reason, when you do that, the second event now displays all the media used in that offline project, INCLUDING the multicam in question. Well, I renamed that multicam clip as Version two. Then I dragged that second empty event BACK INTO the original library with all the media. Everything reconnected instantly and I had a second, separate updated multicam clip in the event browser.
I think if you had exported an xml of your music video project each time you needed to create an alternate multicam version and followed those steps, you’d have saved yourself that painful work around. I know what I just described seems long and drawn out, but it only takes a minute to do once you figure it out.
If you get a chance, test it out. I’m wondering if I just got lucky with my solution or it is something that could help you with your very specific multicam riddle.
Good Luck!
James.
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Thanks for the suggestion, Claude. My iTunes account is working just fine/password is just fine. But just to test the whole iCloud interference thing, I signed out of iCloud completely and tried opening FCPX. Same stupid hang for 30 seconds. Boots up like lightning with wifi turned off.
It’s a fairly annoying little bug. Zionks.
Any other suggestions/solutions? Anyone? I’m ready to try stuff!
James
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Hi there.
Thanks for the reply. In regards to your theory, I’m not sure what to say. It has been like this since I did a clean install. I don’t have a dropbox account and I don’t have any other programs running that I am aware of. This is a real stumper. Are there any background processes or programs that run automatically without my knowledge?
Once again, I can’t emphasize enough how fracking fast the program loads when the wireless is turned off. I’m greedy and I want this load speed all the time. I paid a lot of money for the mac tube. It’s so weird that it has a problem with booting the very program it was built to run.
James.