Michael Garber
Forum Replies Created
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Jeff,
I’m dealing with clips that have been synced. So I’d have to do that all over again. But great to know for next time.
When you did this, did Davinci export an xml referring to the subclips or did you export the clips out as new prores clips?
Michael Garber
5th Wall – a post production company -
Thanks for taking the time to research that, Andy.
I tried your recommendation and realized that, while it could work in another situation, it’s not quite the solution for this because there are multiple clips for each scene (and not 1 clip per scene). Each clip was slated at the top as 101, Take 1, then the next clip was 101 Take 2 and so on… within each take there are multiple unslated takes, thus the need to label them 1a, 1b, 1c.
That means that I’d have to make new keywords for each clip and couldn’t use the standard 1, 2, 3. So the first clip would be Scene 101 and the keywords would be Take 1a, 1b, 1c. The second clip would be Scene 101 Take 2a, 2b, 2c, etc… By the end of the scene, I’d have over 50 separate takes (and thus 50 keywords).
Still searching…
Michael Garber
5th Wall – a post production company -
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If it’s bus powered, it’s probably a 5400rpm drive. I have found that it’s better to edit from proxies on that drive when using FCPX. With the same drive, FCP7 handles full raster prores better than FCPX, but is still a little slow. Premiere also works well enough from the drive, but again, a bit chunky on FF and RW.
[Dave Gage] “P.S You mentioned LADWP. Weren’t you the fellow that did the video some months ago about a local Los Angeles record store?”
I am indeed that fellow :). Thanks for remembering. Just did a side piece from the same footage about one of the stores, Wombleton Records. Started it months ago just to test out FCPX when 10.0.3 came out. Finished it up with 10.0.6 so I could test out multichannel audio.
Michael Garber
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About an hour or two is about right. I occasionally go without power if I’m editing at home on my laptop and LaCie rugged drive. Take that, LADWP! I’m on a 2012 13″ MBP, so you might get more time out of your 17″ with the larger battery. How much time to you get currently without the drive?
Michael Garber
5th Wall – a post production company -
I echo Steve’s post. Only addition is that, instead of dropping audio down, you can also turn it off in the audio info pane. Then turn it back on when ready to edit audio.
Michael Garber
5th Wall – a post production company -
Hi Derrick,
I’ve had the same issue and here’s how I worked around it. You have two options.
1. Instead of panning, consider creating roles for your separate channels. So all NAT, SOT, etc… is on one role. And all VO is another role. Then, when you export a quicktime, select the settings tab and then the drop-down menu for “Roles As:”. Select “Roles as Multitrack Quicktime.”
2. If your deliverables still require panning, I’ve found that setting the pan mode to “default” instead of “stereo” allows for the correct levels. For some reason, when panning left or right in stereo mode, the levels are lower. Pan Mode can be found under “Volume and Pan” it’s a drop-down menu. So, the difference here is that it’ll pop up the 5.1 mixer. Just drag the dot to the left or right speaker. It’ll snap into position if you’re worried about it not being precise.
The benefit to #1 is that you get to edit in stereo and don’t have to listen to audio panned left or right (or change your mixer to center-pan). So you get to edit and mix at the same time. Plus, the final QT file has separated tracks, so none of the VO bleeds into the NAT/SOT track. I sent this out to a PBS news show and they were fine with it since they work from QT files now.
Michael Garber
5th Wall – a post production company -
Andy,
Messed around with it. I can see when it would come in handy. Still, hoping this is an area where they can make the timeline more keyboard friendly. Oh, and I didn’t know about the trim clip command (opt-\). That’s a great tip :).
Michael Garber
5th Wall – a post production company -
Hey Loren – it’s a great feature when you are mousing around. But there’s no way that I currently know to select a connected clip or a secondary – or a connected audio clip – when the mouse is not hovering over it because there’s no way to give it priority over the primary storyline. Would love to know if someone has a trick up their sleeve, though.
Michael Garber
5th Wall – a post production company