Mark Morache
Forum Replies Created
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Yes, this is curious. I assume your dialogue files are audio only clips.
Do the waveforms show up in the event browser?
Does the audio level line show up over the clips with no waveforms?
If you expand the audio components (control option S) do you see waveforms?
If you look at the audio in the inspector, are there waveforms there??Just curious… are the formats for the music files different form the dialogue files? FCPX should be able to handle the audio whether it’s 44.1khz or 48, but I wonder if there’s a difference.
I’d try trashing the audio waveform data and having FCPX redo them.
Close FCPX.
Select your library file in the finder and select “Show Package Contents”.
Look for the folder with your event name, then the folder for render files, then “Peaks Data”.
Delete the Peaks Data folder, and empty your trash. (don’t delete
This should force FCPX to recreate your waveforms.———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
It doesn’t look like a rotation issue. In the before and after, the green swatch looks like it’s in the same orientation, just a different scale.
Just a quick stab at a solution… in the video inspector for that green swatch, under “spatial conform”, try going through your options, fit, fill and none, and see if any of those settings gets things back to where they were.
I’d be curious to see the animated swipe you’re talking about.
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
If you’re simply trying to synchronize an externally recorded audio track with corresponding video clip(s) shot from a single camera, then I would always use the Synchronize clips function.
For example, with the workflow I suggested, you can easily add an adjustment layer inside the synchronized clip that will affect all of your clips. You can’t do this inside a multi cam clip, since multi cam clips can’t have connected clips. Multicam is designed for synching multiple video and audio tracks and allowing you to very easily execute camera switching.
The Synchronized clip is basically a compound clip with all of your elements synched up.
Can you use the multi cam function to synchronize shots from a single camera and externally recorded audio? Absolutely, however Jeff’s original question regarded applying a single color correction across a whole set of clips, and I’d use the synchronize clips function, and add an adjustment clip inside the synched clip to do that. It works slick as snot!
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
By the way Andre… you know that when you create a synchronized clip, you can easily go into the audio tab in the inspector for the Synched clip and turn off your camera audio, and even select which channels of your external audio clip you want to hear.
There is no need to break apart the clips in the timeline.
I would only break apart the audio if I absolutely had to.
Cheers.
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Robin is right, you can select your library in your event browser and look in the inspector to see where your media is.
I’m guessing that when you copied it from the drive you got, you created a project that contains the media inside the library, hence the 88 gigs.
FCPX gives you ways to easily manage this media, and move it back out of your library.
In your library properties inspector window in FCPX, next to “Storage Locations” click Modify Settings.
In the window that pops up, for the Media, select “choose” and create a folder for your internalized media to move to. Do this for the Cache as well. Make sure you select a folder on the same drive as your library.Hit “OK”
Now back in the Library Properties window, click “Consolidate”.
This should move all of your media and cache files (renders and optimized media) into the folder(s) and reduce your library size so you can hand it back to your director, and they can open the project and reconnect your project to the original files on their hard drive.
Sharing projects isn’t my workflow, so I don’t do this, so someone shout out if I’m wrong.
But I did a quick test, and it worked exactly as it should.If you’re just trying to send a single timeline, wouldn’t it be easier to just export an xml of the project timeline, and send that to your director to import into their project?
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I agree with Bill. However I’d be tempted however to create your project, and drop in a clip with your highest resolution to create your project settings.
I’d edit away with this resolution, then you can always watch the final rendered edit and decide how you want to export it. If you decide that there is too much low resolution material, you can easily export your 1080p project as a 720p, or a 540p.
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I’d say you should use the “synchronize clip” function, since there are not multiple angles, simply audio synchronization.
This should give you a single clip with the separate video clips alligned to the continuous audio track.
As for the color correcting, yes, you can make one adjustment and copy and paste the color attribute to all of the clips. I would step inside the synchronized clip (control-click the synchronized clip and select “open in timeline”) and add a color correction layer that extends over the entire clip.
Ripple has a free one.
https://www.rippletraining.com/using-the-adjustment-layer-title-in-final-cut-pro-x.htmlIt’s basically a blank title track that you connect and extend over all your video clips. When you apply a color effect to this, it affects everything under it.
This way, by editing the synchronized clip into your timeline, you can easily step back into it to make any color adjustments, then step back out and see that every instance of that clip in your timeline had the new adjustment.
There are many ways to Rome, but why walk when you can jet ski?
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I’ve noticed that very large stills can take extraordinary amounts of time to render, so unless I’m doing a crazy digital zoom, I resize my stills in photoshop to get them closer to 1920×1080.
Are you using especially large stills??
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Once you’ve ingested your material, it’s very easy to rename right inside FCPX. Select the clips you would like to rename, then in the inspector, under the info tab, select Apply Custom Name.
This will change the name of the clips, but not the names of the original media. I wish I could do that.
The other thing I frequently do, is to import the AVCHD media in FCP, saving the media to an external folder and not within the library. Once all the media is in, then I delete it from the event (it will stay in the external folder), rename the files, and drag them back into FCPX. It’s an extra step, but it’s fairly easy.
This way I can keep all of my media sorted in folders just the way I like.
Maybe in the future I’ll get used to just letting FCPX do all of my sorting and media management for me, but for now, I like to have it organized a certain way.
–> Mark
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Thanks for the link. I find it difficult to navigate the sony web experience, but I absolutely love it when the stuff works!
And yes, I got my DNxHD files exported. It’s not a compressor setting that I can easily spit out from FCPX.
As I said… when stuff works!
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com