Jon Smitherton
Forum Replies Created
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[Nikolas Bäurle] “You simply need to rename your compounds so you don’t have to keep de-nesting.”
We have 68 shoot days in this doco, with say 10 sync timelines and and under 20 shots on each sync timeline. Bit too laborious, given our deadline. The nest and de-nest works as a workaround.
Jon
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Everything is synced before putting in nests. Autosync didn’t work that great.
[Nikolas Bäurle] “But since the sound in the secondary is connected to the video in the primary, whenever you move a clip in the primary everything connected to it moves along. So you kind of have half a 7 link, you just need to be careful moving the audio in the secondary since that will change the position it has.”
Yes, that’s what I’m trying to avoid, hence the need for linking external audio to secondary storyline video.
Jon
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Thanks guys.
I’m working with DSLR footage that has been synced to external audio. The camera was buttoned off but the sync audio keeps running – so there’s a long timeline of audio with clips synced where they buttoned on again. They were then made into compound clips according to the audio takes.
Sounds straight forward. Only the producer has logged to the original file name (out in field), so I have to de-nest the compound clips to see what the name is.
So, I place in timeline, de-nest, overwrite video to primary storyline, chop away and find it cumbersome to move/select the audio all the time when placing B-roll.
Found a workaround, I simply make compound clip again and make sure I de-nest before I give it to another editor – we’re working on 3 machines so don’t want be copying compound clips on a daily basis.
Would be so much easier if I could simply link the audio to clips on the secondary timeline.
Cheers,
Jon. -
Hi Daniel,
Specifically – pressing track selection or scrubbing on timeline, I have to double click instead of single click, also dragging and resizing bins is unusable – these work fine in the desktop level.
Have tried rolling back to the last driver on their site – to no success – do you know where they keep their archived drivers so I can try them?Cheers,
Jon. -
[Chris Harlan] “it can take for waveforms to redrawn on long timelines can be very annoying unless you have “Show Marked Waveforms” enabled. I don’t know if you know about that option, since you left it out of your discussion above, but its a very useful option that I’d like to se on other NLEs”
Thanks Chris didn’t know about this one.
Takes a while on Avid to work out all the idiosyncrasies as a lot are hidden in menus and settings, like changing to drop-frame tc and making audio tracks stereo.Jon
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[Shane Ross] “Copy and paste clip properties.”
This has now been implemented in 10.0.6 – and you can actually select which plug-ins you want to paste. Nice feature.
[Shane Ross] ” The ability to deactivate clips…keep them on the timeline but make them invisible. Or silent.”
‘Ctrl-B’ in FCP7 is now ‘V’ in FCPX and has been there since it’s initial release.
Jon.
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Tis funny people complaining about audio waveforms.
Just wait to you try Avid.
The whole reason I’ve tried to stay away from it being an engineer becoming an editor. The redraw is just ridiculous – it doesn’t seem to cache properly. And they own Pro Tools.
I remember asking an old school editor (I’ve been editing for 18 years, him 30) how he’d see the next grab – he said ‘I hear a sound then go back 7 frames and cut it there’.
At least since vers 5.5 you can turn on the tracks waveform individually instead of doing custom timeline presets. If you’ve got an hour show redrawing the whole timeline, it’ll take round 30 secs – suppose you can plug the ‘wish we had FCP7’ or ‘we should try FCPX’ while you twiddle your thumbs with the director whilst trying to turn it off and not trying to invoke a crash.
Being limited to 24 mono tracks now in 6.5 is better, still find in a large layup that I’m trying to avoid having just these voices on, with disregard to my engineers preferred track allocation. What will Walter Murch do now with limited audio voices if he decides to change back?Jon
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Unfortunately it won’t handle it:
https://documentation.apple.com/en/finalcutpro/professionalformatsandworkflows/index.html#chapter=6%26section=2%26tasks=trueYou could try this program – I haven’t tried it but looks like it can re-wrap into quicktime:
https://www.eoshd.com/content/3576/re-wrap-avchd-clips-to-quicktime-in-no-timeor:
https://www.divergentmedia.com/clipwrap/but you will still be left with the AVCHD codec.
https://www.shedworx.com/final-cut-pro-x-avchd-support
Myself I would look at FCPX – especially if its a simple cut – or Premiere and edit AVCHD natively…16-20 TB is a massive amount of storage and maybe a budget constraint.
You may want to look into running another monitor for the 13″ – the 13″ will be annoying to cut on. There maybe problems with daisy chaining the monitor with one thunderbolt port attached to storage.
Jon
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What is the codec of the original footage? I would edit the native footage (unless it’s H264 – where you need to convert) in a Prores timeline to save space if possible.
Jon