[Jason Brown]

cmd+option and arrow up or down should lift primary storyline to connected clip and replace primary storyline with filler.

[Jason Brown]

A basic sort by duration could probably get you a good chunk of the way there.

If the exact frame duration is the same, it’s likely the same video.

We use Brightcove, and there is definitely a way to get a metadata report. I’ve worked directly with that team and they are responsive and interested in solving problems. I would expect them to be super willing to help out.

[Jason Brown]

QT7 was AMAZING. The ability to flip/flop video with a simple save – extract all of the various video or audio tracks independently, mark in/out with FRAME ACCURACY (unlike QTX) for trimming. The list goes on and on.

I routinely show people things that QT7 can do that they are amazed by. I will be sad when it no longer works.

[Jason Brown]

Precomp and reverse -100%

[Jason Brown]

OK, finally had some time to check this out.

First off, Bret – your response was the most helpful. The information I’m looking for is absolutely in the bottom of timeline window. I didn’t know that, or see it and I feel foolish.

As for the other responses, Jeremy – I did have subframes turned off.

Also, I do agree that it is tremendously helpful to trim to the hundredth, or 80th or whatever…but was I was frustrated by was the inspector showing me those numbers. That time reference doesn’t mean anything to me.

Bret – I was finding that information in the inspector…the difference in what you and I are looking at is that the clip I was inspecting did not have timecode associated with it, it was an audio only track. When you inspect an audio clip that’s part of a video, it corresponds to the associated frame rate of the clip it’s from. When you do the same with audio only, it defaults to some other rate…I haven’t fully determined what that is, but it is different for audio only clips (with no timecode).

So basically, my “issue” is resolved…it was a user oversight and I’m now back to loving FCPX! 😉

Thanks guys!

[Jason Brown]

I understand that, but when in working in a 23.976 comp, all my references should be at that time base, no?

If I were inspecting out of the browser, sure. But once in a timeline, video editors don’t work at hundredths…at least I don’t, and I’m a video editor! 😉 especially when you can select the time display in preferences…I clearly want frames. I’ve told the software that.

[Jason Brown]

Cool…I figured out how to break it apart = CMD+SHIFT+G

[Jeff Kirkland] “why use a compound clip instead of a multi cam clip?”

Because I don’t understand how to use multicam. 😉

Ohh…and FCPX just saved me hours with the magnetic timeline. I LOVE secondary storylines…this program is really amazing in some ways. I hope they keep making it better.

[Jason Brown]

Sorry, I actually mispoke. I was trying to copy the proxy files to A DIFFERENT library.

The biggest issue is that there are a TON of proxies, so recreating isn’t feasible it would have taken 8-10 hours. I’ve moved past this stage of the project, but I’d love to continue the conversation to understand this better.

Is there a menu function for copying a clip to another library? (that takes the proxy along?)

I understand that FCPX tracks all of this, but I would think you could just mimic the folder strucutre, name, TC, size and it would just link up? Apparently not.

[Jason Brown]

OMG…I know this thread is old, but this completely helped me and I wanted to thank you.

Edirol R4 pro recorded TC at 23.976, came into premier at 29.97…this fixed my problem.

[Jason Brown]

Along these lines, I read a quote from Douglas Adams that I love reminding myself of when I see something I don’t like:

https://highscalability.com/blog/2014/3/11/douglas-adams-3-rules-that-describe-our-reactions-to-technol.html