Larry Asbell
Forum Replies Created
-
Yeah, when clip skimming is turned on, only the clip being hovered over is seen and its audio track is soloed. Also the in/out keys work on any clip even connected clips and secondaries. However you don’t have to turn Clip Skimming on and off with Option+Command+S unless you want it on all the time. For momentary use, just be in Range mode, Trim mode or Blade mode and functions of clip skimming are in effect.
-
Don’t miss that you can easily swap which monitor is which by grabbing the Final Cut Pro title bar and dragging it over to the other monitor. Both windows then swap and will remember that location.
-
Did you mean “will be read in FCPX?”
-
Were are you getting that 10.7 is required? All I am finding under “Requirements” on Apple sites is 10.6.8.
-
As you say Trevor, “care where the connections are ” is what it’s all about.
For example in your latest trim, the connections as you have them will cause the timing to shift between the VO clips and the B Roll clips. If that doesn’t suit you, you would shift the connection point of the VO clips to the end of the pair.
I suspect the magnetic timeline designers would say that the effort you formally put into placing multiple rollers at various heads and tails you now put into tending your connection points. Maybe they’d go so far as to say the latter takes less effort because once you set them to reflect the relationships you want, you don’t often have to change them.
Time will tell whether we agree.
Also, consider whether your primary storyline should consist of all your VO, interview and true dialog clips. I don’t mean all the clips automatically assigned the dialog role which are really nat. sound or ambiance. You’d also put on the primary any video clips where the action alone, i.e. no spoken word was driving the pace. Oh, one more, in the case of a music video, the music.
– Larry Asbell
-
Sadly, I suspect you are right Oliver.
Trevor, I’m curios what do you find as you workaround to do a trim like your example. Do you blow away some of the secondaries so you have individual connected clips that will stay synced where they should? Or do you follow up your primary trim with several trims within the secondaries? Does it make you question whether to leave clips within secondaries as much?
– Larry Asbell
-
First let me spell out why one would want to do what you ask in your example, Trevor.
Let’s say your intent is to add back a few words at the head of the dialog track. You know that you have to account for the added time on every track to keep all the downstream sync relationships intact but:
1) You want to evaluate the new dialog without seeing and hearing temporary gaps in the video and effects tracks.
2) You want to have as few as possible cleanup operations to do after adding to the dialog track.
So to avoid having to visiting every track after the dialog trim is made, you anticipate where extra time should be added in each track and place a roller in advance, at the head of some clips and at the tail of others — but one on every track. Now once you’ve got the dialog trim as you want it you’re all done with the trimming of every track, or very close to it.
FCP X can’t do it like this. The way to do something like it involves evaluating and perhaps moving the position of your connecting points, then trimming the primary first and follow up with trims to the connected clips.
But in your example the clips you wish were connected to the primary after the trim point are enclosed within secondaries that are connected before the trim point.
So your alternatives are to first break those clips out of the secondaries and connect them to the video clip to the right of your trim. Alternatively you can do the trim in multiple steps once you know how many frames you added to the initial trim.
– Larry Asbell
-
Your question is a very good one because it is a realistic scenario and gets at the heart of what a great trimming interface in about.
Avid Media Composer could do multitrack asymmetrical trimming like that since the original version 5 from the mid 1990’s! I myself have set up rollers to trim like that thousands of times in 15 years of editing on Avid. Legacy Final Cut Pro doesn’t do it half as well, though one can get the job done in multiple steps.
Final Cut X doesn’t do what you are asking at all. However its “think differently” approach is probably an attempt to offer a good alternative.
I need a little time to develop that thought.
– Larry Asbell
-
I imagine the test quoted by the original poster used PIPs because they make an easy apples-to-apples comparison, but PIPs process quite a bit faster than the variety of effects we typically stack up. With a color correction, a move on a 2K or 4K still, a feathered edge crop, text with a drop shadow, a dissolve–I wish I could get FCP7 to smoothly play a stack of 3 of these effects on HD footage, unrendered.
Most effects take more processing than PIPs to play in real time. And they certainly take varying proportions of the different resources of CPU, GPU, bus and drive data rates, etc.
Just saying that a more complex combination of effects is needed to get at the real-world differences between 7 and X.
– Larry Asbell
-
[Robert Brown] ” Sapphire has a nice field remove which uses a motion mask so non moving areas get full rez and only the moving areas are de-interlaced.”
It may help to know that this is a widely use approach to higher quality de-interlacing. Generally it goes by the name “adaptive de-interlace.”