[Michael Garber]

Jeremy-
Agreed that multiclips and duping are the workaround for now. Might introduce favorites early on so the I can view them as individual takes in the viewer.

Andy- yes, there needs to be some more flexibility here. My hope is that subclips are implemented again in some form, which I recognize might be different from my view of the way they should work.

Thanks everyone for your responses.

Michael Garber
5th Wall – a post production company

[Michael Garber]

Hi Joe,

Agreed on your frustration on that one. I’m not at my computer today to test this. But try this to see if it works. Do the same steps you listed – matchframe to the compound in the event browser. Then right click on the clip and open in timeline.

Alternately, you could create a keyboard shortcut for open in timeline. I use opt-t. There should be a 1:1 relationship between compounds in the EB as well as timeline. Let me know if that works.

Michael Garber
5th Wall – a post production company

[Michael Garber]

Hi Bill,

I didn’t shoot this footage. A lot of my clients use this shooting method. I don’t think it’s wrong to shoot this way since it makes sense and is used for film, reality, documentary-style shoots, and commercials. The footage I’m working from is for a national commercial.

In response to your ideas about audio, I just disagree. I would never sync audio after an edit. In addition, I also have a reel with 3-channel mono audio that needs to be broken out during the edit. The stereo is just for reference.

The spirit of this thread was that I wanted to determine if I could make a particular thing work (or workaround) in X and not debate the merits of the program. I can’t dictate the workflow for all my jobs. That’s the reality I live in. I was looking to this community for help and answers.

Thanks,

Michael Garber
5th Wall – a post production company

[Michael Garber]

Hey Jeremy,

The timeline index is so powerful. Because it’s so relatively new I always have to remind myself to use it.

I think that compound clips are most certainly the best way to go about it. However, I ran into that audio glitch with compound clips where the audio configuration gets messed up. The clips I was compounding are synchronized clips, so they contain a clip + connected audio. Stereo and dual mono. Channel configs get messed up.

Michael Garber
5th Wall – a post production company

[Michael Garber]

I had a feeling that another NLE that might be necessary and have been preparing my work appropriately to cover my bases. I was just hoping there might be a way and was looking for confirmation on this workflow from you guys, first.

Regarding importing sections, that won’t work in this scenario because clips are prores from the Alexa. Import will only bring them in whole. Also, audio needed to be synced to production sound. So that would get complicated quick.

I almost got what I wanted with making compound clips. But there was that audio channel glitch which made it unusable.

Michael Garber
5th Wall – a post production company

[Michael Garber]

Another requirement is that I need to be able to get AAFs out. When I add markers to the clips in the event browser, it’s causing a problem with X2Pro when I export the AAF from an XML of the timeline. Bug report time.

Michael Garber
5th Wall – a post production company

[Michael Garber]

Issue there is that I want the editor to be able to select the favorites from all the logged takes (with ranges pre-selected by the assistant).

There are limitations with favorites when using them as clips. When you add them to a timeline, they show the original clip name. I need it to show the scene and take number, 101_1A. And I am always concerned about someone accidentally hitting U (although I know it can be remapped).

Regarding the markers, they wouldn’t work here, because once placed in the timeline, the marker would most likely get cut out of the clip. Or, I’d end up having additional markers in my timeline that I wouldn’t want and then need to delete them later. I think markers usefulness in this situation would relegate it to the event browser.

Thanks, though. Always appreciate the advice. A lot of what is in this thread could help me or others out in some other situations.

Michael Garber
5th Wall – a post production company

[Michael Garber]

Thanks, Andy. Good workaround. Still looking, though. Really want to be able to name the clips and see it in a logical order – ie 101_1A, 101_1B. If you look at the event lib, you see B and then 01. I think that’s confusing. And you have to twirl down all the clips to see all the keywords. Not that this is a bad thing, per se. Just that it could be confusing to someone new to FCPX – and I’m trying to come up with a way to make this system work for non-FCPX editors so that they can work effectively if they’ve recently come from another NLE.

On a sidenote, I really wanted to be able to use auditions. This method would work with auditions. but the names of the clips would always be the same when you placed it in the timeline. You could see the correct take and scene by opening up the timeline index, but again, too many steps, not a quick easy way to see scene and take number.

Michael Garber
5th Wall – a post production company

[Michael Garber]

Tried that, too. Similar issue with the audio configuration. Instead of 1 stereo two mono separated out. It shows up as 3 linked clips comprising of 1 stereo and 2 mono. However, the stereo has no audio in it.

Ai yai yai.

Michael Garber
5th Wall – a post production company

[Michael Garber]

I thought I had a solution, but there’s an annoying audio channel bug which I’ve discussed in an earlier post that really complicates things. It produces basically what I want – minus original clip timecode, but that’s another issue for another post. BTW- These are synchronized clips that I’m working with.

1. I duplicate the clip and append the words “for subclipping”
2. Open the duplicated clip in timeline. That reveals the original clip and the production audio underneath.
3. Go to in point. Hit cmd-A to select all and cmd-B. Same for the out point.
4. Select the new clip with attached audio and create a compound clip. Label the clip 101_1A.
5. Wash. Rinse. Repeat.

Now, I am able to go to each “subclip” in the event library and label the scene and takes in the columns (even though it’s redundant based on the filename, just still good to have it there).

Here’s the huge problem. The audio channel designation goes back to stereo. It should show 1 stereo and 2 mono (the connected synched audio). So I have to step into the clip, break apart the audio and then turn it into a compound clip. Too many steps to create a subclip. There must be a better way.

Also, what I lose by doing this is the ability to slip and slide the media to points outside my in and out range without stepping into the compound clip two levels. I also lose the ability to matchframe to the original. I can live without these, but it’s worth mentioning.

The good news, Davinci Lite saw the footage from test sequences. X2Pro also exported an AAF. But I have no way of testing it’s integrity right now.

So, this way too complicated even though it produces the results I want. As far as I’m concerned, it’s back to square one. Anyone else?

Michael Garber
5th Wall – a post production company