[Jim Waterwash]

Just did it. Sleeps kind of quiet over there though.

[Jim Waterwash]

>>if you take a whole FCP project into STP it’s a multitrack project and has nothing to do with destructive or non-destructive.

Its a multitrack project true, but once within that multitrack project, I want to non-destructively edit an audio clip within it, I double click that clip and it wants me to name a project for that clip’s own project. Thats why I end up with a project for each clip within my multitrack project. Then, seemingly, with no way to reuse these projects, once the original FCP project has changed. Thats the part that has me now very confused.

Thanks

Jim

[Jim Waterwash]

Your point is taken on the re-encoding that occurs when breaking the clip up. I assumed I was loosing no image quality when FCP’s media manager chopped it up.

I think the one advantage to shuttling through stuff on a hard drive, is that if its on a hard drive, at least you still can more easily go and grab that sound of a bird that was on that shaky clip that you decided not to use. You can even mark it in case you want to use it.

The traditional way seems to put more emphasis on doing it right the first pass, before you have worked with your video. Sometimes, its not until I’ve worked a bit with a video that I realize that I could use the sound of that bird. I admit that is partly from inexperience, having only had a few years semi-pro experience. Its hard to appreciate traditional film-making tools when I’m unable to go back. Back to the bird sound or even back to SoundTrack once I’ve made a correction in FCP. I need to already know what I want and do it right the first time. Then the work-flow will work and be efficient. 😉

Thanks
Jim

[Jim Waterwash]

I did export the entire FCP project to soundtrack.

It is easy to get it there, but my confusion is in getting it back, making changes in FCP and then how to re-edit without having to reapply my non-destructive audio sweetenings within Soundtrack, now that my FCP project has been modified.

To clarify some things in your other posts, I did in fact figure out that I needed to break the file into smaller files and did so using the media manager’s magic. I do understand that most professional editors never copy an entire tape into their hard drive. With dropping hard drive prices, I decided to reduce the wear and tear on my camera and I passed on having a $500 dedicated deck just for input.

I’m becoming aware of a lot of the methodology that exists in traditional film-making. I’m just trying to better separate and understand tradition vs. efficiency. My main reason for switching to Final Cut was because it seemed an industry standard. Just trying to understand this standard…

Thanks for your help.
Jim

[Jim Waterwash]

I think I’ve just grown used to having more control of my audio and because it was available, I’ve been using that control. As normalization goes, I typically normalized on a clip by clip bases. It was just a check box in Vegas. Often the environment changes around the camera so I found normalization by clip can give me finer control of my peak volumes and pull out conversations that normally would get lost. Amazing the things that can be heard by tweaking audio…

Yea, I am aware of the auto detect of Timecode stops. I suppose in the right conditions, I could apply a normalization to several clips at once.

Thanks for that.
Jim

[Jim Waterwash]

You got my heart pumping again!

Its true that I neglected FCP’s audio features because I bought FCP studio which came with Soundtrack.
But I found that when I add an audio filter to a clip and then modify an audio parameter while FCP is running, its stops playback. How can I tweak the effect to hear what my changes sound like in real time?

Jim

[Jim Waterwash]

I had just bookmarked that same posting, thanks. Can’t wait for my render to finish so I can try it out.

Thanks again,
Jim

[Jim Waterwash]

Thanks for both your comments. The thing is, I’m panning along a big map posted at a park and following a diaginal road shown within it (both x and y change).

What I was hoping was that I could use the shaky path generated by a track motion, and somewhow, using some math, smooth out that curve and use the data to help stabilize the pan. Seems possible mathmatically.

I’ll play with the single axis tracking data. I’m on day 2 of AE. Fun stuff.

Jim

[Jim Waterwash]

I believe there is no way to retain a clip’s audio sync once it has been modified within Motion. This stinks.
Jim

[Jim Waterwash]

Thanks, Media Manager was the solution.
Jim