[Jeff Kirkland]

Individual source clips is what you want. I’m not in fron of a computer right now but further down the page (from memory you may have to click ‘advanced’ or similar to open up the option) but you can set the number of frames for handles. Zero for none.

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

[Jeff Kirkland]

I always highly recommend Chronosync for things like this. It can be a bit of a challenge to figure out how to use it, but once you figure it out, it’s super flexible.

I use it for everything from keeping my Motion projects in sync over multiple workstations to making incremental backups of my editing drive.

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 sure Apple do feel,the need – I think this is just happening to you. I’m using El Capitan and frequently switch away from FCPX to do other things while it’s working with no bouncing icon. And even when it does want my attention, it’s not grabbing the focus.

Out of curiosity, did you do an upgrade or a clean install of OSX? My experience is that 90% of people with weird application or system issues did an update.

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

[Jeff Kirkland]

FCPX never loses track of the original files so ‘reveal in finder’ will always point to those – but it will use the optimised (or proxy) versions first if they’re available.

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 thing I’d do differently from the video, is zoom into the clip a little more – maybe a thumbnail every five seconds or so, so that I could easily see where I was in a clip. As to the scrolling up and down… I can’t see how moving vertically is any harder than moving horizontally. It’s a flick of the finger whichever way you go.

One of the things that’s often a stumbling block for new users is trying to hang on to the way they’ve always done things in other NLEs. It’s an approach that almost never works, makes the whole FCPX experience awkward, and often leads to the verdict that “FCPX sucks”.

Those that take the “never have, never will” approach are almost certainly going to find using FCPX to be a fairly miserable experience.

I guess the bottom line is that navigating and skimming the browser window is fundamental to how FCPX works. It may seem awkward at first but from my experience, and the experience of thousands of others, once you get used to it, it’s just as fast as any other method.

Using FCPX doesn’t come naturally to everyone, so hopefully your workplace will bring someone in to do some formal training about the optimal workflow when they make the switch.

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

[Jeff Kirkland]

We’re talking about a PNG still here so I’d go one step further back than John’s suggestion. If you open it in something like photoshop, does it actually have an alpha channel? If yes and FCPX just isn’t seeing it, try resaving it.

If you put the clip on the timeline without the chroma key clip above it, and put another clip below, does it work? Of so, make a compound clip of that, then use the compound clip below the chromakey clip.

Another possibility would be to open the png in Motion, check transparency is working, then publish it to FCPX as a generator.

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

[Jeff Kirkland]

Maybe I’m just missing something but the workflow that Phil is describing just sounds like an artificial way of doing what the FCPX browser is presenting you with by default.

The clips are in the Browser window, sorted and grouped whatever way you want, you can see a thumbnail at whatever interval you set so visually you can quickly jump to whatever you’re looking for. In the default view, with grouping off, all the clips are essentially strung out one after the other in chronological order, so you just skim through the clips, set in and out points, hit the ‘e’ key to edit that selection to the timeline, and repeat.

I can’t for the life of me think how the extra step of stringing the clips out into a timeline could possibly be any faster than that.

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

[Jeff Kirkland]

As you suspected, the more events in one library, the more your performance will suffer.

My approach would be to create a library per wedding, and then use events for the various parts of the day (prep, ceremony, photo shoot, speeches, etc).

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

[Jeff Kirkland]

In my case I just and to send a stringout of each event, because the guys on the other end didn’t want to be dealing with hundreds of individual clips, but it’d work for individual clips too. I’d also already imported everything into FCPX so exported to Resove from there but I could have just started in Resolve and brought everything into FCPX later.

Anyway, coming from FCPX, I edited all the clips in an event onto a timeline. I exported xml and then brought that into Resolve. In Resolve, you now have the same timeline so go to the color section, and use the burn-in pane to add the clip name and timecode. In resolve you have access to the both the project and clip timecode.

Then go the render section and in the settings panel, tell Resolve to export individual clips with no handles. Start the render and job done, sanity saved.

As mentioned, if I hadn’t already started in FCPX, I could have saved a step and just brought all the clips into the Resolve media pool, and made the timeline directly in Resolve.

I guess this might not work if you wanted to add timecode that resets to to zero for each clip but I’m not sure I know of anything that could do that.

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

[Jeff Kirkland]

Here’s a link to a list of alert icons in FCPX if that helps.

https://help.apple.com/finalcutpro/mac/10.2/#/verd1f977a7

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