[John A. mozzer]

Thank you.

[John A. mozzer]

Yes, this works! Thanks!

[John A. mozzer]

Copying and pasting indeed works! Here’s what happened. Previously, I tried selecting the synchronized clip in the Browser, and Copy under Edit was grey. But if I instead open the synchronized clip, use Select All, and then Copy and Paste into the Project timeline, it works!

I’m all set now! Thank you!

[John A. mozzer]

No, I’m not sure. I just tried it again — appended the sychronized clip to a new project. Please see screenshot.

[John A. mozzer]

It might help if I explain the project is basically audio only, but made into video so that I can put it on YouTube. I don’t have images to go with the audio. So instead, I am creating screen recordings of an oscilloscope to creatively serve as the video. To create the screen recordings of the oscilloscope, I use an application for playback of the audio files, and the oscilloscope, on my iMac. I use Quicktime Player to create the screen recordings of both the oscilloscope, and the audio coming out of the iMac’s speakers (the low quality audio.)

It is a documentary oriented digital archiving project, and doesn’t involve much editing. Here is a screenshot showing a synchronized clip, consisting of one long video, and six synchronized audio files (the high quality audio) below. Each of these audio files, and the corresponding video, needs to be a separate Project in FCPX. But when I append a synchronized clip like this one into a FCPX Project, all of the Blade cuts, markers, separation between the good audio files, etc., disappear.

I can think of several workarounds, such as determining where to split the video and audio again in the Project timelines with my ears and/or looking at the waveforms. But it’s a shame to loose the advantage of the separate audio files showing precisely where I want to split the video.

[John A. mozzer]

Thanks, Jerome. This is good to know. I’ll contact Telestream’s customer support to see whether they can explain why the Episoder encoder is apparently putting a video_format field set to 1 in the bitstream.

[John A. mozzer]

John, thanks. Good to know that I’ll be able to edit native H.264 when I upgrade to the latest version of FCP X.

[John A. mozzer]

Jerome, I am glad to know that is what MediaInfo is doing, because I didn’t know before reading this thread. Yes, I would like to provide a file and see the trace.

[John A. mozzer]

I have a related issue. I shot footage with my iPad, which is H.264, 1920×1080, Progressive, 30 frames per second. (Seems to me, it is neither NTSC or PAL.) I edited the footage in Final Cut Pro X, with the project’s render properties set to ProRes 422 (HQ), because there seems to be no way to natively edit H.264. I created a ProRes master file using Final Cut Pro X’s Share feature, because I like to use Episode for encoding to H.264. I am not changing the video properties (1920×1080, Progressive, 30 frames per second) anywhere in this workflow. MediaInfo says the resulting Episode encoded H.264 video is the PAL standard, which makes no sense to me.

It is merely an annoyance, I guess. The video seems fine. But I do wish that I could figure out where the problem is being introduced. (By Episode?)

P.S. I am using Final Cut Pro X Version 10.0.9 and Episode 6.3.1.23, outdated versions because I am keeping Snow Leopard on the particular iMac that I am using.

[John A. mozzer]

Sorry. Forget this. I’m not sure what this is used for.