[Jeff Kirkland]

You can create a new transition in Motion and publish it back to FCPX. The easiest way to figure out how to do it is to find a similar transition in FCPX, right click to open it in Motion and then see how it was done.

Even if you haven’t used motion much it’s pretty straightforward. You have clip A, clip B, add your wipe above them, drag out the length, change blend modes, and crossfade as required then publish back to FCPX.

From memory someone’s already made a generic transition in Motion that lets you add an alpha matte to an image well but I couldn’t spot it…

Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland

[Jeff Kirkland]

[Steve Connor] “The one that suits your personal workflow – end of story!”

I mostly cut corporate stuff and over time I’ve used Premiere, Media Composer, Sony Vegas, Final Cut 7, Media 100, Edius, and probably a few I’ve forgotten about. I tried FCPX the day it was released and it was love at first sight.

I sat at the desk and thought Apple must have read my mind. This was exactly the way I wanted an NLE to work. Maybe it didn’t do everything I needed yet but I completely understood the magnetic timeline and knew from day one I was never going back to a ‘traditional’ NLE.

I understand that not every NLE suits every editor’s workflow but it still amazes me that after all this time people still seem to take great pleasure in finding FCPX’s every flaw and shouting it to the world.

And while this thread may have sparked a little more of that debate, It’s great to see that while the original poster may not be able to adapt to FCPX, or adapt FCPX to his way of working, at least he gave it a try.

Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland

[Jeff Kirkland]

Nope. All my smart collections, key wording, etc survived the 10.0.9 update just fine.

Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland

[Jeff Kirkland]

I’m not sitting at my computer so this is from memory (which ain’t what it used to be) but wouldn’t you just select all then opt-right arrow to open them all up in one go? Pretty sure it opt-right/left arrow to open/close the disclosure triangles…

It’d be much better if it remembered the state of the triangles but Apple don’t seem to be in a rush to fix this one.

Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland

[Jeff Kirkland]

Unfortunately no. The database structure was updated between the two versions so there’s no going back. The way compound clips work also changed between 10.0.5 and 10.0.6 which may be the root of your issues there (although it is supposed to still support the earlier format provided you don’t make any changes)

As has been said, its a brave editor that updates mid project. It sounds like you can at least get the black clips resolved, if painfully. One thought about the error message is to check you’re running the right version of OSX. Minimum system requirements changed with 10.0.8 – as did graphics card requirements I think.

As far as the compound clips go you may have to enter them and copy everything out to a new one because of the change to functionality I mentioned, keeping in mind that they work differently now so you may not end up using them the way you did in 10.0.5.

Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland

[Jeff Kirkland]

[Ronny Courtens] “Anyway, it seems like dropping pre-created proxy or LT files into the Proxy Media folder does seem to be a valid workflow as long as the “proxies” have the exact same file name, TC and duration as the original media.”

Yes, I’ve done this a lot on Canon 5D projects where I get Magic Bullet Grinder to create the full-res version and create a proxy with timecode burned in. Just drop the proxy files into the appropriate folder and FCPX always seems happy enough to use them.

For me it means a couple of clicks and I can switch between editing footage with TC and other data burned in and just the clean footage.

Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland

[Jeff Kirkland]

Not much help but no, izotope RX2 is working fine for me in FCPX.

Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland

[Jeff Kirkland]

I guess I meant that the Mac Pro is a huge deal but I expect you’ll still be able to use FCPX comfortably without one. it’ll just be that those with Mac Pros will be able to do bigger/better/faster/cooler stuff.

I’m glad I updated from my ancient 2006 Mac Pro to an interim low-end 2013 iMac 27″ with the intention of a new Mac Pro in 2014. I love it when a plan comes together 🙂

Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland

[Jeff Kirkland]

The only way to get from Premiere to FCPX is to export FCP7 XML then convert it to FCPXML. The result is that audio is placed on it’s own “track” (secondary storyline) and the video has no audio attached. As Brad said, you need to replace the video on the primary storyline with a new copy that has audio.

I had to do it a while back and ended up using a keystroke macro app, set up so that I only had to hit one button and it would find the clip under the playhead in the event library, replace the timeline version with a new copy with audio attached, and move on to the next clip. Took an hour or so to set up the macro but saved me lots of time when it came to replacing hundreds of cuts.

Unfortunately, I’ve re-installed the computer a couple of times since then and can’t remember what app it was I used.

[EDIT] It was Keyboard Maestro

As much as i hate to say it if I had to do it again I’d probably just take out a Creative Cloud subscription for the duration of the project and edit in Premiere.

Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland

[Jeff Kirkland]

I’d be very surprised if there’s anything left in the world that couldn’t cope with a progressive DVD.

My understanding was always that DVD doesn’t require any specific field order – upper first, lower first, progressive are all fine.

I usually specify lower field first because traditionally PAL SD material came from DV which was always lower field first and so the majority of PAL DVDs (at least here in Australia) are either lower field first or progressive.

Basically match the DVD field setting to the source file and keep the field order consistent throughout the DVD and all should be well.

Jeff Kirkland | Video Producer | Southern Creative Media | Melbourne Australia
http://www.southerncreative.com.au | G+: https://gplus.to/jeffkirkland | Twitter: @jeffkirkland