[Jon Smitherton]

Oh yeah – gotta love this feature. Thought it would be a standard effect.

Thanks Andy.

Jon

[Jon Smitherton]

Quite honestly I don’t know if I’d use an audio facility that is still on Pro Tools 6.1 or earlier.
https://www.avid.com/us/products/DigiTranslator
Actually we were using a guy that was several versions behind…He didn’t know how to export M&E stems at the same time as the stereo mix (which wastes a lot of time on an hour show), or when a compressor was breathing for that matter either.
All exports from Avid we do are AAF these days as it contains the RTAS plugin information – it’s nice for the sound mixer to get an approximation on reverbs etc or at least know they should be there if the producer misses it.
I’m sure X2Pro will get there in the end with regards to handles etc. I’d rather Apple not rise the price of OMF licensing which I’d assume would be around 200 dollars on FCPX. (Gee remember it cost 2 grand on M100?)
I’m hoping there will be busses on the new ‘roles’ mixer – as all I need to do on some line record programmes is slap a compressor/limiter on the master to make sure the audio is legalised.
Why not just buy Xto7 and export to FCP7 and export the OMF from there?

Jon

[Jon Smitherton]

You have to transcode the H264 clips to Prores.

Jon

[Jon Smitherton]

Please note that its not really background rendering per se – It’s more equivalent to auto-render on FCP7.
You’ll notice that the render dial stops when you are playing.
Having true background rendering either by half the cores assigned to this function or even better, a network cluster/render farm would make this program so fast it would easily retain FCP’s lost customers!
DO IT APPLE!

Jon

[Jon Smitherton]

Excellent thanks Jeremy.
Nearly sounds like an Avid workflow with putting sequences in the source monitor.

So:
Make favourite (f)
Select favorites in bin.
Make compound clip.
Edit compound clip into timeline.

How do you ‘break apart the original elements’? Which I assume means
un-compound when the clips are in the timeline.
I understand FCPX has problems with project file bloat with compound clips – so would understand if this is necessary.
I also assume you would need to do this if you need frames outside the in/outs of your clip in the compound clip.

Could edit(how I did it in FCP7) by cutting selects into timeline then match frame or cut/paste into new timeline.

I still think it should retain the in/outs after you jump to another clip in the browser – it’s just not straight forward enough without it.

Cheers,
Jon.

[Jon Smitherton]

Thanks Jeremy,

So you would go through your footage hit f (ie like a selects roll)
then sort by favourites then add clips to the timeline as a workflow?

Cheers,
Jon

[Jon Smitherton]

Hi Stephanie,

By all means get one!
I had an operation on a ganglian – a deformed muscle on my tendon – due to mouse work.
A good tip is to use it in mouse mode instead of pen mode – it saves you
a lot of time ‘back tracking’.
I use the smallest Intuous 5 as it is easier to get around, has swipe functions and even the jog wheel works!
Also it has soft pen grip – I have a lump where my old non soft grip used to be on my finger.

Do it – you’ll never look back.

Jon

[Jon Smitherton]

Hi,

You can Media Manage the sequence with handles and see what size it is to send to them on a drive.
1 Hr Prores HQ HD video is 224 GB so with say 4 sec handles it maybe 100 GB or so more.
I would try and keep in the same size and codec as you plan to deliver – ie Prores HQ etc.

The reason I wouldn’t try is that when you media manage with handles FCP7 has a problem relinking to the original source footage. (The dreaded ‘Sequence/Clip Media Start – End changed’)
Compressing to another codec may compound this issue.
(I haven’t tried – but I assume you would first MM to your original codec with handles…then media manage that to Prores LT without handles)

If I was going to recompress to another codec I’d choose Prores LT then you wouldn’t get field order issues or different frames sizes which is a pain to change with zooms etc. It took me 4 days changing a 52 min doc which was edited in the wrong frame size with the wrong field order!

When you MM, manage it to another drive (and check everything is there by unmounting your original drive) – then always work off that drive – so FCP doesn’t get confused (or you when relinking) between the original clip and the MM clip. Duplicate that media onto another drive and send it to him. Then you can send each other project files with updates of your cuts.

If you need to send the whole project, I’d just MM (copy) the project to another drive (just in case there are stray files) after cutting out reels/shots you don’t need.
Hard Drives are cheap 2 x 2 TB drives will only cost you 200 bucks or so. It will save a lot of headaches in the long run.

Jon.

[Jon Smitherton]

I believe the 4 frame offset was for syncing the canvas and a outputs of a firewire DV or HDV camera. Blackmagic and AJA have always specified changing this offset from 4 to 0.

Had a problem once where a BM card wouldn’t insert/assemble on the correct frame on a Digibeta deck….re-installed etc…Apple blamed BM, BM blamed Apple…in the end BM updated their drivers within a week and it was fixed. Love that support.

Jon

[Jon Smitherton]

[Shane Ross] “FCX can’t. Requires a third party app to do that. OMF’s are something Apple doesn’t seem to think you need anymore.”

Be fair Shane, to include OMF would probably mean 200 bucks on FCPX’s price for Avid’s licencing. Remember when the OMF option on the Media 100 was 2000 bucks?
Hey at least FCPX has got audio waveforms that are usable unlike Avid!
Granted Avid MC5.5/6 has now got the option to redraw one track without a custom workspace setup…but hey they own Digidesign!

Jon