[Jeff Kirkland]

You can use X-FX Hamdler from Spherico Film Tools. You can see what’s missing, what path it expected to find it at, and you can disable or remove it if you need to.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

I use Chronosync to make a backup of my work drive three times a day. It can backup just the changes within the library package so it’s very fast. The UI is a little clunky but once you get your head around it, it’s incredibly flexible and there’s very little in terms of a backup strategy that you can’t do with it.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

Sounds like FCPX is for some reason treating the drive you are importing from as one giant camera card. What is the folder structure? Check there’s nothing at the root level that would make it appear to be a camera card.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

There was a moire fix plugin for FCPX once upon a time but I don’t think it’s been updated in years. The gaussian blur trick is my usual go to fix. Haven’t come across much else that’s worked over the years but I’ll be interested if anyone has other suggestions.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

Just checking you did install the latest version of colour Finale? And I can’t remember the details because it didn’t apply to me but there was a Color Finale tech note sent out to users just recently about the latest version of Sierra + Color Finale + a certain graphics chip causing a crash and asking users not to update the OS until there was a fix.

You Sh;uld be able to,find the details on their support pages.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

I tend to stick with ProRes 422 unless what I’m archiving is headed for projection on large screens and might benefit from the extra bitrate. But really, if you have the storage space, there’s no harm in going for the highest you can.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

You could create a new angle in the multicam editor and add the audio there. Then manually sync it up. Then switch audio on all the angles to your new audio only angle. Not sure if you can select them globally and change the audio angle on them all at once.

Ideally you’d have done this at the start and just cut the video angle only and locked audio to the good track but I guess you didn’t have the final audio track when you started the edit?

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

Not if you are manipulating it directly with th\e mouse but you can move it by scrubbing the coordinates in the info panel without activating the frame. That’s how I move things 90% of the time.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

Compound clips do have their issues but they are your only option for nesting.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

Ok. That still sounds like what happens if the angle metadata hasn’t been set in each of the clips. FCPX has no idea what to do with them and strings them all out in one long line.

If the angle metadata has been set then try going into the angle editor and manually add each clip to a different angle and get FCPX to sync the clips from there.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland