[John Pale]

There was a third party tool called Traffic which did this. I don’t think its still around.

[John Pale]

Greg,

You’ve been in a rage in multiple forums since the day FCPX came out.

Those of us who have been at this for awhile have had to make many transitions and learn new things…even entirely new ways of working. If you don’t have the stomach for it, its time for a new career. I started with tape based linear editing. Then the VideoCube, StrataSphere, Avid, M100, and Final Cut Pro. Guess what…they are all different. I had to put real time into learning each of them. You’ll find people are more enthusiastic about helping you if you don’t phrase your questions in terms of slamming the software for not working like Final Cut Pro. Avid didn’t become the gold standard in broadcast editing by being poorly written software…so if there is a drop dead simple task that you are finding completely cumbersome to do, chances are you aren’t doing it correctly…its not Media Composer.

Avid isn’t Final Cut Pro. Adobe Premiere isn’t Final Cut Pro. Today, even Final Cut Pro isn’t Final Cut Pro anymore (well, FCPX, anyway). You’ll have to learn new things and pick your new weapon. If you can learn more than one of these tools, even better. Flexibility is good. Throwing an online tantrum in an Avid professional forum because you can’t do something simple….not so good.

There are plenty of good Avid tutorials on the web. They are not hard to find. If they don’t answer your questions, or you need a faster answer, just ask here. If you want to make irrational rants, go back to the FCPX forum. You’ll have plenty of company.

Sorry for the mini lecture. I don’t make a habit of it.

[John Pale]

This is pretty well known by people who work with large amounts of footage in FCP.
Luckily, you can have more than one project open at a time.

FCPX has an entirely different project structure, so if it ever becomes a viable replacement in professional workflows, you won’t have to worry about such things.

[John Pale]

I was going to suggest that next.

You can actually do audio pull up and pull down in Soundtrack Pro as well.O

[John Pale]

Do the export in 2 stages.

1) export a self contained movie with audio and video. audio should be 48k. This “builds in” the speed adjustment made my cinema tools.

2) bring the QuickTime back into FCP and put it in it’s own timeline. Export your audio and video separately. Don’t export from the original sequence with the speed adjusted Cinema Tools clips.

[John Pale]

Open the activity monitor (or whatever it’s called) command-9.

Make sure it’s done analyzing. I saw this once when I started editing with the clip right away. Once I waited, it was fine.

[John Pale]

Thanks for figuring this out. Great info.

[John Pale]

You can’t.
FCP x has no mechanism to select monitors. It only understands one and two monitor setups.

[John Pale]

John- My opinion is it goes beyond Apple making enough profit. I think Apple’s modus operandi is to COLLECT royalties not PAY them.

Care to elaborate? What royalties are we talking about ?

[John Pale]

In the future don’t mix frame rates. If you do, you will have problems. Cinema Tools conform has no loss in quality, but it is adjusting the speed of the footage slightly. The quality will not be improved by Twixtor…it may only help keep things in sync. Because of the way it interpolates, it might not even do that perfectly.

If you forgoe Twixtor, sync will be easier to manage if you make multi clips for each song. The offset between cameras will grow on longer multi clips.

There isn’t any quick fix to this. Shooting at different frame rates is a major mistake,