Mark Morache
Forum Replies Created
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Why not just toss it all into the timeline as it is?
Just make sure your project is set for the format you want for output.
There’s a “conform speed” item in the speed menu that I’ve never used, but may conform the footage like Cinema Tools used to do, but all in the timeline.
I’d try it all in the timeline and see if you like the results before jumping through all kinds of hoops.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Alright… operator error, thank God!
Turns out I had edited the entire clip inside a synchronized clip! I usually put the synchronized clip in the timeline and then break it apart.
Apparently I never got that far. I just started editing inside the synchronized clip.
I’m relieved, but it’s still a crazy system.
Whew.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Select a clip in the timeline and open up the audio properties. When I do this I can see all of the audio channels from all of the sources. You may be able to just turn off the one you’re monitoring now, and turn on the desired one.
I’m not sure but I expect that any audio keyframes you made to the clip will stay there, but I would expect that if you made any keyframes to individual channels, they will go away.
If this works for one, you can easily select all of the rest and do this to all of them.
I don’t do audio switching when I do multicam clips, but you could also try just switching the audio like you switch the video sources. I don’t know what the key combination is for that.
I’d make a copy of your timeline, or part of it, to try things before you do something you can’t undo. Technically you should be able to undo anything, but I’m not entirely convinced.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
My 2 cents…
I tell people to learn all the single key, non-modifier shortcuts first. There’s usually a reason for mapping these functions to these keys.
I don’t use all of these as much as others, but it’s a good place to start.
Even the non-alphanumeric ones… I use []\ all the time, as well as the comma and period for trimming.
The only one I don’t seem to ever use is G. I just tried to figure out what it does, and it’s not something I’d be likely to use a whole lot.
I’d also like to put my votes in for lift from storyline CMD-OPT-UP, and drop to storyline CMD-OPT-DOWN. This fits with my practice of trying to keep as much in the primary as possible and only using a secondary storyline when I absolutely must.
SHF-Z for showing the entire timeline.
CMD keys to move around the windows.———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I’ll sometimes create a scrap timeline. Once you’ve opened it and opened your primary timeline you can easily select a portion and use the arrows above the left side of the timeline window to switch between timelines, cutting or copying portions and moving them into your scrap timeline.
You can create the scrap timeline as a project or create a compound clip that will live in the event browser. It should work either way.And as far as having too many compound clips, I believe the new way fcpx handles compound clips fixed most of that.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I’ll be curious to see if anyone else has a solution to this.
Here’s what I’d try. Select a range of your multicam clip that has the word or words you want to add, and connect them to your timeline where you want the audio.
Now drag this connected clip BELOW the primary storyline so you won’t see it, but just hear it.
It would be cleaner to be able to break the multiclip apart, so that you only have the audio connected, but I don’t know a way other than the way you describe of stepping into the clip.
I’m hoping they will give us a way to collapse the multiclips back to the original clips, like in FCP7. Then we could break the clip apart.
Meanwhile, manipulating the audio is always going to be a bit klugey.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I frequently use auditions of compound clips to produce alternate edits. I would take a section of my timeline and compound it, then duplicate the compound as an audition then make changes inside the new compound. This way I could create two versions of my timeline without duplicating the entire thing.
Say I had a 45 second montage in the middle of a timeline, and tried two completely different types of music, that necessitated completely adjusting the rhythm and even shot selection. Two versions that can be switched with a key-stroke.
When FCPX changed the way that compound clips are handled, adding them to the event browser, this workflow changed. You can still do it, but after you compound, and duplicate and add to audition, you now need to select your new audition and “reference new parent clip” to break the duplicate from the original compound clip. Now you can create your alternate timeline section.
If I’m just switching out one shot, I don’t compound it.
But here’s a question… when you create an audition to a clip with other clips attached, the new audition doesn’t have anything connected to it. Do you then go back and copy and paste everything that was connected to the original? Or is there an easy way to create an audition and keep everything connected when you switch the auditions?
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Yep… I’ve got shortcuts too. I set option C to collapse all the audio, Shift-option-C to expand all, and add the command-shift-option-c to expand just the splits. Shift E seems cleaner, although I collapse all much more than I expand all.
I’ve discovered that you can rename the audio tracks in the audio properties window, and when you expand the components. This makes it easier to balance the audio tracks in the timeline.
One big wish in a future build would be a way to select a number of clips, and have fcpx automatically expand the audio by a pre-defined amount, and apply a fade of a pre-defined amount, so I could easily cross dissolve all the audio, without doing gymnastics.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Wouldn’t you also need to have a similar frame size? Would all of your scaling and position effects translate accurately?
I haven’t found that I need to use proxy. Our shop uses xdcam ex at 35mbs, so I can put most projects on my second internal drive on my laptop.
The one time I wanted to use proxy was a project with a lot of multicam (5 streams) and my computer started having trouble with anything above 3 streams. I found however that I needed to create proxies of every bit of footage, not just my multiclips, and that bummed me out, so I just lived with the stuttering in the angle viewer.
Honestly, if you’re going to need to create proxies to edit more than a couple of multicam streams, wouldn’t it be better for fcpx to create a multicam clip that rendered down all the streams into one clip that would play in the angle editor? But I’m getting off topic…
If I were dealing with full prores files, I’d be tempted to use compressor to create full hd proxies in a more compressed format, and simply relinking the files back to the full prores when finished.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Can you download the 30 day trial and keep the codecs?
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com