Mark Morache
Forum Replies Created
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NVM
I finally discovered the UDF driver, which is apparently different from the SxS device driver.
I wish there was one place where Sony would put all of these things.
13gb from UDF is now transferring in about a minute.
Bliss!
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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 -
So, I set up a compressor setting using quicktime and the DNxHD codec so I can export out of FCPX.
I tried a test clip, and when I open the DNxHD clip in QT7, the colors aren’t as bright as when I open a prores clip in QT7.
Interestingly enough, I brought both clips into FCPX, and they were virtually identical, according to the scopes within FCPX.
Am I to understand that the clip is encoded with the 709 levels, so when I bring it back into FCPX, it adjusts for the 709 levels on playback? Even though to looks so differently when I play it back in quicktime…
Thanks again.
–> M
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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 -
So I was able to export the clip through quicktime 7, and it seemed to work. However, it looks like the color range isn’t the same. It’s a bit washed out. I’m uploading a side by side screen grab. The original is on the right, the DNxHD is on the left.
Am I doing something wrong?? I’m still wondering if there’s a way to get the codec into compressor.
Thx.
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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 -
In fact, you don’t even need to save them. They should still be there. When you trash your preferences, then your keyboard goes back to the default, however your personal set should still be there. You just need to go into the keyboard settings and select your personal keyboard.
Easy breezy.
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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 need to do the shift-F twice. The first time it opens the browser to all the clips, and the second time it finally shows me the matched clip with the range set.
It’s annoying, but I’ve gotten into the habit of hitting the keys twice.
Go figure.
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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 -
Another way to do this would be to place the preview music into a compound clip, by itself. Edit your piece with the compound clip. Once it’s approved, place the full res music into the compound clip, sync it up and remove the preview music.
You should now be able to use the timeline index to select every instance of the compound clip with the music, and break apart the clip items, if you want to have the music cuts exist in your timeline at raw clips and not embedded in a compound.
It’s a testament to the power of fcpx that there are numerous ways to do this and they all work well.
———
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 mapped my keyboard Shift-B to “Blade All’.
This will slice everything on all tracks.
Do this at the start of your range, and the end of your range, and delete everything in the middle.
Another way is to arbitrarily slice the audio somewhere during the range you are deleting and make sure the second half of the audio clip you’ve created is attached to a clip in the timeline that’s after the range you’re going to remove.
Now when you remove your video range, the audio will still be there, but you’ll need to apply fades and adjust the overlapping ends to create a smooth audio track.
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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 -
Are you still in the animation mode in the source screen? Sometimes I don’t see what’s actually happening until I press “DONE” in the browser screen.
If all else fails, I reset the motion parameters of the clip (or replace the clip in the timeline with a clean version from the event browser) and start over.
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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 -
Exactly. My point is that why would you want your audio cut into little pieces if it’s actually continuous. On multi cam editing, I always mix my audio and adjust my audio levels first, then I perform my camera switches. From here on out, I’m going to separate my audio.
Extending the audio from the first clip is clunky. If I remove a portion of the video to tighten up the timeline, I’ll need to do a lot of monkeying with the audio to get it connected.
Looks like this boy’s going to use separated audio, and just be very very careful about not losing my sync. I think keeping the audio embedded in the clips with the volume turned down, in case I need to re-establish my sync.
This will also help you avoid the clicking that can happen when you cut from one audio with an effect to another.
Either way, you’ll be happier avoiding the audio slices that happen when you change camera angles. Until the FCP guys come up with a better way to handle this.
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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 -
Sounds like I’m not the only one annoyed by the slicing of the audio when you make video only edits.
Looks like an enhancement request we can ask for.
https://www.apple.com/feedback/finalcutpro.html
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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
