Mark Morache
Forum Replies Created
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I got frustrated and fed up with the multicam editing. The inability to collapse clips is a frustration. The inability to have audio from multiple clips without much gymnastics is frustrating.
I got an inspiration the other day and tried it with a recent edit with some multicam.
It’s a little convoluted, but it worked.
I need my multicam clip with the needed audio tracks broken out so I could switch the angles, and deal with the audio separately. I can’t switch between audio angles because I may need channels from each clip up all at once.
So I made my multicam clip. I then created a compound clip, containing the mc clip. I stepped inside the compound, then inside the multicam. Once inside the multicam I selected the cameras and cmd-c to copy the clips then I stepped back out of the multicam clip, and now inside my compound clip I place the skimmer at the top of the clip and opt-v to paste the clips as connected clips. I then break these clips apart, delete the video and any unnecessary audio tracks. I set the audio level of the multicam clip to -96 since I’ll be using the separated clips for audio mixing. Now I step out of the compound clip.
I’m left with a compound clip consisting of the multicam clip, and individual audio tracks for each microphone.
I was surprised to see that with the angle viewer open, by skimming over my compound clip in the event browser, I could see the angles of the multicam clip embeddded inside. I edit the compound clip into my timeline. I break it apart to make camera selections and edit my audio.
I can then either leave the clips broken apart, or re-compound them in the timeline.
I anticipate that someday the programmers will come up with a better way to edit audio in the timeline, without all the stepping in and out of the clips. Until then,
It’s several steps, but I only do it once for each multicam clip, and doesn’t take too long.
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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 -
Yes, things are the same. Keep everything native. If you have any speed issues you may consider transcoding later.
Know that when you transcode to prores, the file sizes will be larger, and the bandwidth of the stream will be more, so depending on the drive holding your media, you may experience stuttering if you start dealing with too many streams at once.
I was trying to edit a 4 camera multicam clip and my drives could only keep up with 3 prores streams at once. That was a time I decided to use a low res proxy.
Otherwise, I avoid transcoding.
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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 think I’d put your non-changing elements inside a secondary storyline. You can connect it to your slate, leaving your entire primary storyline open.
By having the right length of gap in the secondary storyline, it will allow the footage in the primary to be revealed until you get to the end graphic. You can even put a transition on your end graphic.
Now you can edit away on the primary. You can visually see where the end graphic comes in by looking at the secondary storyline.
You could also put the graphical elements along with music, sound effects, what-have-you inside a compound clip above your primary storyline, again connected to the slate, and wherever you have gap in your compound clip, the primary footage will be revealed. I believe you can even put graphics with alpha channels in the compound clip. Place a marker on the compound clip to indicate your hard hit for the end graphic, and you’re in business.
FCPX is quite flexible, once you get past the idea of the plyable nature magnetic timeline.
Good luck.
You can also put the elements BELOW the primary timeline, and trim the footage on the primary to reveal the end graphic.
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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 -
It makes sense that when you mute the roles, that they should not export.
Knowing that however, it’s not a huge deal. You just need to make sure that you don’t have that particular role set up for export.
You have to specifically assign roles for output. No assignment… no output.
I would love to see a way to color code the roles in the timeline, including roles that are combined inside a compound clip.
I have a check I do after I export a clip with roles. I drag it back into the end of my timeline, break the clip apart and visualize the clip to see if indeed the audio is separated the way I want it. I’ll often find an errant clip or two, and I’ll need to export again.
There’s also an issue with auditioned clips. I’ve had audio inside audition clips go to more than one role. It could be user error, however I find it annoying.
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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 -
That’s the camera I use.
Your choices right now:
1) Use FCP7 to ingest (after you download the free plugin from Sony that only works on FCP7)
2) Purchase Clipwrap for $50
Sony hasn’t come up with anything for X as yet, and I’m not holding my breath.
For my money, if you don’t own FCP7, get Clipwrap.
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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 -
Is it worth the pain to do a clean install?
Or is it virtually the same thing to install over Snow Leopard?
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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 have run into this before. It is a giant headache.
First check to make certain it’s not an errant L-cut.
In the top menu select View – Expand Audio/Video Clips – For AllThis will expand your entire timeline.
If you don’t see any extra extended audio tracks, I suggest that you first isolate the clip that is playing double audio. Use your solo and disable function to pin it down.
Once you’ve identified the bad clip, I select the clip, Shift-F to reveal the clip in the event browser, then drag the clip from the event browser on top of the timeline clip and select “replace” from the popup menu.
I also hit opt-cmd-C to copy the clip properties before I do the replacement, then opt-cmd-V to paste them back onto the clip.
If you have any extended audio, you’ll need to do that manually.
Using this technique, I’ve been able to make quick work of this issue when it crops up.
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
You can also simply go into the properties tab, and expand the scale button to show X and Y sliders, and type “-100” into the X parameter.
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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 don’t believe it exists, however you can simply CMD-X to delete and OPT-V to paste as connected.
Works great.
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I think there should be a folder like the itunes folder “automatically add to itunes”.
By dropping footage in there, it migrates into the FCP Events folder without making another copy.
To avoid that, here’s what I do.
After I clipwrap the footage into a media folder, I then ingest the footage into FCPX without copying the files to the event folder. This creates aliases to the media in the event.
I like to keep it like this, so I can manage my media folders myself.
If I want the media to live in the event folder, you can simply drag the media files from where you have them, right into the “Original Media” folder, thereby replacing the aliases with the original media files.
Whenever I’ve done this, FCPX has had no trouble recoginizing the media files as the same thing as the pointer.
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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