Mathieu Ghekiere
Forum Replies Created
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Also know that – I don’t think Sam shows this in his tutorial – is that in the Inspector, if you go to the Channel Configuration, you can skim the tracks independently. Go with your mouse over the tracks, and you hear ONLY that channel, so you can easily hear which is what (if you are checking which one was camera-audio and which one was a mic, for instance).
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[Aindreas Gallagher] “actually wait a minute – has anyone seen this?”
You should watch all of Sam’s tutorials. He has an article now also on MovieMaker about RED and FCPX (which is a bit of rehash of what he told in the Tutorials, but very interesting!).
I really like his tutorials, they are short, but very packed with good information for what often seems more high-end workflows than what the tutorials of Ripple Training or Larry Jordan tell you (with all respect to both those, I bought those as well).
Again, Apple is making huge advancements with FCPX, and anyone who still regards it as the 10.0.0 version, should really look again…
This stuff was introduced in October or November. We are March now 😉 -
I have no affiliation with Sam, but I found his tutorials on RED and FCPX to be among the best out there, beating a lot of tutorials that are paying. They are not too simple, and focus on some professional workflows.
His article here is indeed very interesting, I look forward to reading the next entries.
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Fabrizio,
about adapters:
we have a Retina Macbook Pro with Thunderbolt to Firewire800 cable.
When we work with an HDV deck, (almost never, these days, once a year for a client who wants something from ages ago ;-)), I just connect it with a Firewire400-Firewire800 cable. Works fine in Final Cut Pro 7. -
I think Apple ditched them because a reference movie was a feature of Quicktime, and FCPX isn’t based on the Quicktime framework anymore, but on the new A/V Foundation.
That being said, on one hand they could be very handy in times, and having the option would be great.
But rendering in FCPX can be very fast, if you work with Prores Media (it helps a lot), and in combination with background rendering, it makes the pain of missing reference movies a lot less. -
You’re right, I love the timecode overlay in FCP7 too. And I Also wish Apple did some better work with it in FCPX.
That being said, my workarounds don’t always take as much Time as it sounds, performance is great even when making a quad image with on all 4 streams a timecode generator, and I do have some added benefits.
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No unfortunately not.
There is a timecode generator in the Generator browser, but unfortunately, when placed in a sequence, it only reads the timecode of the sequence.
Workarounds (I’ll copy from a post I made earlier on another forum):
OPTION A: Right click the clip. Command: OPEN IN TIMELINE.
Click on the clip, X, go to the Generator Browser, Click the Timecode Reader Generator, and click Q for CONNECT. You will have a timecode on the clip.
*read my commend belowOPTION B: Right click on the clip, choose: New Compound Clip. Make a new compound clip from the clip, give it an approperiate name, make sure it has the same starting timecode as the original (FCPX will normally do this automatically, as you’ll see) and make sure it has the same settings as the original (again, FCPX will detect this automatically, so you just have to name the compound clip, all the rest will be automatic).
You can for instance make a smart folder with Compound Clips and other criteria, to keep track of your new Compound Clips. (because in this scenario you will have a compound clip for every original clip)Now the comment… What’s the difference between these 2 options? Simple (but important):
When using Option A, if you edit the clips in the timeline, and afterwards go to the original clips, click Open in Timeline again, and remove the Timecode Reader again for your final edit, it won’t delete that Timecode Reader in the clips in the timeline. (I don’t know why, I sent feedback to Apple).
When using Option B, if you edit them in the timeline, then open the compound clips later again, and remove the Timecode Reader filter (or make it invisible by pressing V), the change will trickle down to your edited timeline, removing the timecode filter there.
That’s why I like to use option B, although this maybe is not a good option if you work with a lot of clips, and it also depends on what’s the relationship of the timeline you send to your client and what you keep for yourself (if it’s the same or not).I can advise everyone to, like me, send Apple feedback about this, so they know this is important.
I sent feedback about making a kind of timecode HUD or something, and also being able to copy/paste timecode viewers in the Dashboard/Timecode Hud/ … -
If you go to the clip in the timeline and push CTRL-V (if I’m not mistaken) you can see all the keyframes for video. I think there is a Same kind of shortcut and menu for audio, but I don’t know for a moment what it is (don’t have my computer with me now).
I think from there you can select them all and move them, but I could be wrong. -
In my experience, no.
I sent feedback to Apple about this, together with other enchancements that I hope they bring in relation to FCPX, timecode and the Dashboard/hubs.