[Mark Dobson]

[Andy Neil] “Which are coincidentally the shortcut keys as well.”

yeah I was going to refer to it as the alt key – however when I checked the FCPX help it referred to it as the option key.

But either way, yes, it’s the keyboard shortcut.

Mark

[Mark Dobson]

Its in the help manual and Its not complicated – by default the clip will be video and audio however you can select video only or audio only. There is an edit pop up menu in the toolbar.

option 1 = video and audio
option 2 = video only
option 3 = audio only

[Mark Dobson]

[Thuna Thun] “ok, i assume you mean the format 720p / 25p HD with the dimensions 1920 x 1080, right? when i want to reset the properties for my already existing projects, i don’t get a choice for 25p but only 23.98p. do i have to re-import everything to new projects, and if yes can i do that copy-paste, or what is safest?

and with reframing the shots you mean: in the inspector > transfrom tab > change the percentage number in the “scale” line, right?”

This long distance international Q&A could get complicated.

I had assumed from your original post that you were working in PAL because you mentioned

– still images in 1920 x 1280
– movie files in 1920 x 1080 25 fps

I suggest you create a new project. When you create a new project a dialog box opens asking you what video properties you want the project to have.

If you select the custom option you can then specify Format, Resolution and Rate

The 16.9 resolution for 720p is 1280×720 and if your files are 25p that is the frame rate you need to select.

With this new project everything you edit into it will by default be fitted or conformed into this resolution.

Once you have a clip on the timeline you can select it, and in the video section of the inspector you have the option of changing the spatial conform between normal, the default setting, fill ( this would upscale a smaller image) or none which will present the file at it’s true dimension, which if it is a 1920×1080 file will appear cropped.

By selecting the transform control you will see that the image is larger than the frame from the outline bounded by blue select points – you can resize your image by grabbing one of the 4 corner points and moving it in or out. If you grab one of the side points you will distort, squeeze or stretch the image unless you also have your finger on the shift key.

WUSIWUG

So presuming every thing goes well you can now edit your 2 files into this project re-conforming as you see fit and then when finished use the Share window to produce your DVD and File for Youtube.

The reason I suggested 720p is based on your end requirement of a DVD and File.

If this does not work I suggest you provide more detailed information about the Format, Resolution and Frame Rate of your original files.

Good luck

[Mark Dobson]

It really depends on what is more important to you the stills or the movie. If you want a 4×3 format you will also get a black top and bottom border on the film and visa versa.

What I would recommend is that you create a 720p 25p project. By default FCPX will resize or clips to fit the frame size you have specified.

However when you edit in the stills in the inspector under spatial conform select none rather than fit. Because your 1080p images are larger that the 720p frame they will fill the screen, however they will have been cropped. If you select the transform tool you will see by how much and you will also be able to re frame the shot.

As to you problem of the frame ‘jumping out’. I have come across this problem using third party transitions and the only way round it is to create a sub clip of all the over or under scanned images in a temporary project set up to the format you want to work to and then export the image sequence as a movie through the share window and then re-import and use as your new source clip!

[Mark Dobson]

I’m currently editing a 15min piece about a contingency exercise, where an accident is staged and all of the emergency services have to respond as if it were a real incident. Every thing is closely monitored and the programme I’m cutting is an overview of the whole event, what went right and what went wrong, what can be improved.

2 camera crews were filming continuously for about 4 to 6 hours so a lot of files were created. In order to get a handle on the material I have been creating compound clips in the event library for the first time and it’s been very easy to do and really successful.

As well as creating favorites and smart collections I also whittled these down into compound clips containing the best material. As I like working visually its easy to skim through these clips. So in essence I’m creating highlight selections, or vox pop selections etc.

I also find that after a while a project becomes really unwieldy, lots of hesitation, so to get round this problem I break the timeline into logical compound clip sections and then continue editing by opening these into their own timelines.

To my mind compound clips are at the heart of what FCPX does best both in the event library and within a project, they are really easy to create, to open in their own timelines and to break apart.

[Mark Dobson]

Well that’s a pretty sobering article and I can really understand why the big production setups are giving FCPX a side step.

As mentioned so many times the fact that Final Cut Studio was knocked on the head at the same time as the seemingly juvenile X was released did nothing to help keep people on board.

But for small production companies like the one I work for the switch to FCPX is really starting to pay dividends.

I have to agree with what Ryan Poirier says in the article.

“My personal view on FCP X is that it’s a brilliant program, provided the user can essentially forget everything they’ve learned from using the previous Final Cut Pro/ Studio applications and go into it with an open mind. Don’t be quick to judge a book by its cover, or give in to all the negative hype,” Poirier told Ars. “I may be more optimistic then others by nature, but after learning FCPX in it’s current state, I’m more excited about future potential of the application then I am concerned with it’s current shortfalls. “

[Mark Dobson]

Potentially I think FCPX would be ideal for a small TV set up.

If it’s running on a fast Mac with fast drives (thunderbolt?) it could cut short news pieces like a hot knife through butter. They are normally very straightforward and with pre-designed graphic components it could work well.

And again it is ideal for short straightforward magazine type programmes.

Where it really starts to slow down is during complex compositing, using numbers of compound clips.

When all is going well it is a joy to work with but I’m not sure it’s quite ready for such deadline dependant workflow.

I also would not underestimate the amount of time it takes to get to know this programme. I’m 6 months in with it and still finding out new workflows, workarounds and shortcuts.

[Mark Dobson]

[Thomas Frank] “Why are struggling with your 2008 Mac Pro?
No issues here with the 2008 models. You do have it packed with RAM and a good graphic card,correct?
I see this issue cross the board no matter what system Mac or PC, single to quad core Chips, it’s not going be fast with only 4 GB RAM.”

Well I’ve got 2 x 2.8 GHz Quad-Core Intel Xeon with 10GB Ram and an ATI Radeon HD 5770 1024 MB card.

I’m now running Lion – had more problems under Snow Leopard and I like to keep up with the puck.

But are you saying that all Macs or PCs struggle with NLE work?

I’m editing full HD 1080p and everything is fine until I start manipulating the clips, colour correction, FX. transform etc. Then it get really gluey, time starts going very slowly as you wait for even simple things to happen – for example zooming in.

Maybe I should go for a 720p workflow and see what happens although anecdotal advice is to stay at full res until the final delivery which for me is Internet, DVD and conference projection.

[Mark Dobson]

[Michael Sanders] “Have discovered a useful little workaround for FCP X’s lack of autosave feature: At any time you can drag a project file to another disk and it gives you the copy project options. Deselect copy renders and you have a copy of the project – obvious I know but interesting you can just drag a project.”

Hi Michael,

Why do you copy to another disk? All you need to do is duplicate the project, with option duplicate project only selected and and include Render Files unselected.

I don’t do this all the time but when I am working an an alternative cut or a second version.

I generally like the constant autosave in FCPX, certainly saves time when you have force quit and relaunch (a frequent part of the FCPX experience for me)

But wouldn’t it be nice to have a project version autosave feature built back into the software.

[Mark Dobson]

[Craig Seeman] “Major kludgy especially when there are times when the ticking seconds are critical. Also the more steps one takes, the greater the possibility of a mistake along the way. To do this kind of work effectively and expeditiously is to be able to measure and adjust while adding the text.”

I like that word Kludgy! It really sums up the crazy workflow that working in FCPX sometimes forces us into.

I find working with text in FCPX a huge improvement over FCP7. Especially now I’ve least how to create text components in Motion and publish and tweak them in FCPX.