Jeremy Garchow
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Unless you make new media without audio, your original files will still have audio. Deleting it out of the timeline won’t delete it out of the files.
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What is the ultimate goal? Why do you need to delete it?
You could turn it all off in the inspector (clips would have to have similar audio configurations for that, or select similar configured audio in the index and then turn them off in the inspector).
Or you could select all, and then the level down all the way.
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This has to be one of the toughest products to market, maybe ever?
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Do you have any slow motion clips with optical flow?
Another thing to do is to make a brand new Project and copy/paste the program in to it. That may shake loose any weirdness.
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I’d get this tool and have a look at all the effects with this tool:
https://www.spherico.com/filmtools/X-Files/X-FXHandler/
It will allow you to see, with a bird’s eye view, all the templates that are in that Project (after exporting an XML).
It may point to missing effects (returns a value of “False” in the left column).
Jeremy
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[Bill Davis] “Buggy means the code doesn’t work as it’s designed.”
Let’s say I load Sequence 5, then Sequence 4, then Sequence 3, then Sequence 2, and then Sequence 1.
In the history, I now have 5, 4, 3, and 2 lined up in the “reverse” history while looking at sequence 1.
If I step back to 4, and load sequence 10, sequence 3, 2, and 1 disappear from the history.
At that point, anything that was in the forward history is now gone.
It works great for web browsing, it does not work that well for navigating between sequences, UNLESS you constantly go the end of the history, and load a sequence. And then at that point, the order is now jumbled, unless of course, you load all the sequences, in reverse order, again.
So, sure, it’s not a bug, but it’s also kind of goofy and could be improved.
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Hard to peek at something you can’t really see! 🙂
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[Simon Ubsdell] “I know by now that there’s no chance of convincing you over the internet of the many virtues of string-outs and pancakes and so on, but I suspect if we spent half an hour in a room together that might change just a little.”
It’s the way I used to work in FCP7, and how I work in Pr. I find the way I work in FCPX to be much better. I leave the sequencing for my sequence. It is very easy to store “versions” of an edit, or other options of an edit in one Project.
I don’t find pancaking or string outs to be as intimate of a connection with the footage as skimming, favorites, keywords, and smart collections. Again, this may have to do with the type of jobs I typically edit, and of course, how my brain seems to work.
I find the FCPX timeline to be a very good scratch pad to hash out visual ideas. Perhaps you use string outs in the same way. I don’t really know what you mean by ‘Browser only’ editing. I don’t edit from the Browser. I make selections in the Browser for further editing, something that a bin structure does not provide, at least not as sortable as FCPX allows. If you want to work from sequenced clips, FCPX has ways to work that are pretty decent.
[Simon Ubsdell] “In fact, over the years I have discovered the opposite to be true – it’s much easier for material to get overlooked when it only ever lives in the browser …
“I find I have much better access to all of the footage in FCPX than any other current system I have used. With one click, I can supersede all collections, all organization, all notes, all keywords, all sequences, and simply browse all the footage, and then I skim and play it. Every single piece of media that is located in an Event, or even in the whole library, is viewable. There is no way for footage to simply get lost in some series of subedits on a selects reel. It’s all right there in front of you in as big or as small as a selection as you’d like, going from Library level, right down to a specific keyword, note, or favorite. It is what I find most useful. With selects reels, it can be hard to dig out the shot that you want.
[Simon Ubsdell] “However, just on a really basic, practical level, you surely must run into situations where your client asks for a version that’s a little bit of one other version, a slice of another and a chunk or two of a couple of additional versions.”
Of course, copying and pasting selections from other timelines is still possible in FCPX. I do it a lot, especially as I mentioned, during bigger campaigns. The nice thing about FCPX is that if there’s shared assets between Projects, these are very easy to store, recall, and edit, in compound clips. I can then smart collect those at library level. It is very easy and convenient.
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[Bill Davis] “They’re just displayed sequentially, not stacked. Other than that. No difference.”
Until you open another Project or two, and the three Project you have been working may or may nt be available in the “history”.
As much as I enjoy FCPX, this function could be much better.
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[Simon Ubsdell] “My beef with FCP X is different from most people’s. I’m not complaining that they innovated too much, but rather that they innovated too little!”
I feel that. There does some like some opportunity that is not being explored. I also think that Apple moves very slow. They always have.
As far as editing between timelines, I am (kind of) glad it’s not there. In FCP Legend, and subsequently Pr, the timeline selects reel is a result (as you mentioned that others mentioned) of limitations of the interface (Bin > Source > Record). At least I feel like it goes back to bins. Because of the hierarchy of bins, and because of subsequent clip duplication, it can get confusing and can also lead to “lost” takes or sections if the selects reel doesn’t include all of the material, and at that point, you are hunting through bins anyway with no real connection back to the selects reel. I guess it depends on what types of programs are being worked on, but pancaking is not how I think, particularly. FCPX allows a very very nice interface for browsing lots of footage for unforeseen moments.
I do wish, however, for a tabbed timeline interface, as when you are working on a campaign with many many outputs, the web browser style that FCPX employs is not very good. I think a tabbed browser would help as well; or some sort of way to have multiple events open, or at least a way to stick my Projects smart collections so that I can easily navigate between footage and timelines without going to different Events (I have a method of keeping smart collections of the latest version of all the Projects in the campaign) . That being said, I do like FCPX’s organizational capabilities, including the ability to collect across the entire library, no matter where or what Event the element is situated. This may not be exclusive to FCPX, but it is a good implementation that I find very useful.