Joe Marler
22
Apple Final Cut Pro X Coins
39
COW Coins
Forum Replies Created
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In the angle editor, click on down arrow next to the angle name at left of the timeline and select “Add Angle”, then drag the new clip from the Event Browser to the new lane on the timeline.
If a clip is synced incorrectly (or not synced) you can selectively sync or re-sync that one clip within the multicam. In the Angle Editor, click down arrow next to the angle name for the master audio you wish to sync to, and select “Set Monitoring Angle”. Then select the clip which is synced wrong or not synced, and on that lane’s name select the down arrow and pick “Sync Selection to Monitoring Angle”. Only that one clip will be re-synced.
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You can try the sync with all angles; it might work for the stop/stop camera 5. If only some of the clips from that camera sync, you can open the multicam, select the non-sync’d clip from camera 5, then at left of that track click the drop down menu and pick “sync selection to monitoring angle”. It will try to re-sync only that one clip within the multicam. Repeat for any mis-synced clips. For monitoring angle pick the one with best audio, or the audio which sounds closest to camera 5 audio.
In the future, a possible way to avoid this is setting all cameras to “free run timecode”, assuming that is possible, them jam-syncing them or zeroing the timecode simultaneously. I think even some action cams permit this but you’d have to investigate. That allows stop/start shooting and FCP can sync based on timecode.
The procedure is shown below by Dave Dugdale on Sony Alpha cameras using an IR remote, but you can do it without the IR remote by just hitting a “zero timecode” menu on all cameras simultaneously. On a verbal “3…2…1…mark” command, three people could zero five cameras within about 1/8th of a sec.
https://www.youtube.com/watch?v=t3Fuoxbv81E
My documentary team uses Tentacle Sync devices, one on each camera and audio recorder:
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The pathname to each media file is contained in the library and cannot be directly edited. That includes the volume name, which is different between your Thunderbay RAID vs the NAS. If you rename your Thunderbay RAID to have the same volume name as the NAS, and if the full pathname to the media files are the same, it should not require a relink.
There is a hack workaround for this involving Finder aliases, but in my testing it’s not 100% reliable. I definitely would not try it unless you have a complete file-level backup of your library. Even then I would not rely on it for a production situation. It is described in this article regarding proxies but it also works (more or less) on regular media files: https://www.fcp.co/final-cut-pro/tutorials/1828-cheating-final-cut-pro-x-proxies-to-store-where-you-want-by-using-aliases
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” is there ANY WAY to id where the library might be?” — If you want to know the *library* location, you can do a Finder search (CMD+F) for all files with the extension .fcpbundle. To enable search by extension do CMD+F, click the left search box and select “other”, then click the “File extension” checkbox. Thereafter that will be a searchable item when you do CMD+F in Finder.
You can also save a Finder search to locate all FCP libraries with a single click, and if desired have it exclude search results for library backups:
That will obviously not show FCP library bundles which are on disconnected drives. If you want a search of those you can first index them with NeoFinder: https://cdfinder.de
If instead of the libraries, you want to locate the media files referenced by those libraries, as stated above the 3rd-party tool Final Cut Library Manager has an optional feature which will export a .csv file of each file referenced by a library, including complete path location.
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I saw this yesterday on a tiny 20 second three-clip timeline I was testing. I re-launched Resolve then it went back to normal. Effects in use: Resolve built-in BMPCC6k 6k film to extended video V4 LUT, Primary Balance, spatial noise reduction, face refinement. Smart Rendering enabled, but I tried deleting the cache before re-launching and it didn’t help. Media: BMPCC6K UHD 4k/24 ProRes 422, 17.0 build 39, MacOS 10.15.7, iMac Pro 10-core Vega 64 16GB.
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AVI is a container format which may contain various encoding formats. Some of those may be supported by FCP and others not. I have some 12-yr-old AVI files shot on a tape-based Panasonic DVX-100 using the DVCPro codec, originally captured from tape to file by Premiere Pro 5.0, and those files can be imported to FCP 10.5.1 today.
If you are on the latest version of FCP and Apple Pro Video Formats, and it cannot import your AVI files, try transcoding those with Handbrake or the free version of Resolve.
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Import the full length of each clip using “leave files in place”. That will not take up any additional room. Batch label all clips from each camera angle and separate audio source in the Inspector (CamA, CamB, MainAudio, etc), then sync them as a multicam. See below tutorial on this.
Then use the angle editor (SHIFT+CMD+7), skim the multicam clip in the event browser, marking rejected ranges, favorites and (if needed) keyword ranges. After marking rejects, run the browser filter (top right) in Hide Rejected or Favorites. Also mark the original parent clips as rejected to prevent inadvertent use in the timeline.
After skimming, rating and filtering the multicam clip in the event browser, each marked range will appear as a subclip in the browser. You can then add those to the timeline and fine-tune as needed.
Easy multicam edit setup:
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Try playing it in Quicktime Player using the JKL keys. Single step it and see if behaves similarly. If so it is not an FCP issue.
If it’s unique to FCP (not Quicktime Player), make sure the viewer playback is set to Better Quality. Create a new project and add that one clip to it, with no other effects.
Also delete all render cache by selecting the library in the left sidebar, then doing File>Delete Generated Library Files>Delete Render Files>All, then reboot the machine.
If it still happens after that, select the clip in the timeline, then the Inspector, at bottom of the Inspector pane select view mode “Settings”, then in Color Space Override select “Rec 709”.
There was a similar bug on certain camera codecs in an earlier version of FCP. Make sure you are on the latest version which is 10.5.1.
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This may be obvious, but verify your intended project is loaded in the timeline. Unlike favorites, rejects and keyword collections, used media is only specific to the currently-loaded project.
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X-FX is so valuable I created a High Sierra boot disk so I can run it when needed. Provided your Mac hardware will run High Sierra, you can boot to High Sierra, copy the .fcpxml file there and run the utility.
The source machine can be running Catalina and recent versions of FCP. Only the destination machine running X-FX must be on High Sierra. There’s a better chance of it working if you export the oldest available .fcpxml version supported by FCP.
Note there are two steps in the procedure: (1) Create a bootable High Sierra installer and (2) Run that installer to create a portable USB High Sierra startup drive. So you might briefly need two external drives until the bootable disk is created. Once created you can boot the machine while holding the OPT key and select the High Sierra startup drive.
Creating a bootable High Sierra USB drive: https://mackeeper.com/blog/post/450-how-to-make-a-bootable-high-sierra-installer/