Michael Garber
Forum Replies Created
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Glad it worked! I had gotten it to work on my system, but couldn’t quite remember what I did. So I must have quit the program, as well.
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I could be wrong on this one but I think all you have to do is have the drive you want the project to go into highlighted in FCPX just before you run 7toX.
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View source timecode in the viewer window.
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That’s a helpful one. I mapped CMD-SHIFT-S for Collapse All Clips. Hope that helps, too!
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Hi Richard,
Yes, I was talking about X. I dislike the way that the audio appears in the timeline when clips are collapsed. There’s no visual cue in that mode to let you know of a j or l cut (at least in my experimentation last night).
In addition, I really want to be able to keyframe multi-track audio in clips in the timeline without having to disassemble the audio from the video. I want to be able to j or l specific audio tracks to different lengths. I know it’s possible now, but you have to perform a few more steps to get there.
Does anyone know if there’s a keyboard shortcut to panning audio left or right?
Visually, I just find the new timeline distracting vs. a well-maintained timeline in 7.
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B – definitely for the viewer.
Regarding tracks, I’ve been thinking about this a lot. One idea I had is something similar to the way Google acquiesced with nested tags in Gmail. They ended up making tags work in a folder-less paradigm. They can look like folders, but they’re not.
So, same idea for FCPX. Assuming all your audio is properly tagged with it’s role assignment, there could be a way to organize all the media in your timeline based on it’s “tag” or role. So, all the music would appear to be on tracks 6-10, but in reality it’s just the program showing it to you in a clear and concise way. You could also drag a clip into the lane “bucket” and it would get assigned the role you’ve assigned that area.
My problem with the timeline right now, is that it’s very confusing – even if you know what’s going on. You have to keep switching clip height modes and when clips are compressed, you can’t see if you’ve made a j-cut or an L-cut. It’s just not intuitive in that regard.
I just wish that I could easily see and work with multi-channel audio in the timeline without having to detach and open in timeline, etc… To me that’s counter-productive. I just want to be able to quickly make a channel L or R, louder or softer – and do it all in the timeline. Anyone have any tips on a better workflow for that? I hate detaching for fear of audio going out of sync and not having sync markers.
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[Chris Kenny] “Say you’re editing a fascinating new documentary about parking. You’ve got some interview footage in your primary storyline. The guy starts talking about the history of parallel parking. You cut away (via a connected clip) to a pan over a photo of John T. Parallel, the inventor of parallel parking. “
I would definitely go see this documentary no matter WHAT NLE this is cut in! 😀
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[Matt Callac] “I may not understand you correctly, but if you just have this random clip above the primary storyline but it’s not necessarily timed out to a specific spot in the primary storyline, why does it even matter that it’s moving when you slide a clip in the primary storyline?”
It could be for a number of reasons. Primarily, the old way is how i’m used to working. I like the idea that I can control the position of my clips independently. I’ve gotten used to working fluidly in that way.
That said, one specific reason might be that I have already timed the top layer to a beat in the music and I’m just trying to finagle v1. Sure, maybe there’s some gap at the end of the clip on V1 that I’ll deal with later. See where I’m coming from?
I’m not saying the way X does it is wrong. Just trying to figure out how my old workflows will shift. Also, I was just so freaking fast in 7. So, it’s like I’m getting my sea legs again 🙂
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matty, that’s great to know that you can create a new connection point. thanks for that!
i understand how the connections work. it just seems odd that it would work while slipping on the bottom layer. i guess that’s just one of my “old school” fcp ways of thinking 😉
unfortunately, the only way this solution will work (from what I can tell) is if the clip on v2 is longer than the main storyline clip. in this particular case, the v2 clip is shorter and doesn’t hover over the next clip. too bad there isn’t a lock method for the connected clips – or a way to just say “I don’t want this crazy clip to be connected! ;)”
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Nicholas,
I understand your frustration there. Perhaps you could add a secondary keyword along with “FDR” that gives a very general description (a few words at most) of what’s going on. Maybe there are general themes that you’ll find could be repeated–which would make it easy to do a search or create a smart collection. For example, you could search for “FDR” and “Europe” together, which would exclude “FDR” and “US.”
If you just searched for FDR it would look like this:
New Deal
FDR, US
New Deal
FDR, Europe
New Deal
FDR, US
New Deal
FDR, US
New Deal
FDR, Europe, HitlerAt least you can take a quick glance to see what you need to click on to view.
In my tests, it seems that any long swaths of info – at this time, at least – should go into the notes section.
All said, what you are seeing when you search for FDR is akin to Subclips in old FCP. So, you’re seeing the in and out of those particular ranges. I know, it’s confusing (thus my recommendation for a secondary keyword). The other weird thing about the search functionality here is that, if you look at a clip in a keyword collection it will also show you any other keywords that overlap. This could be useful but sometimes it seems like too much information. My hope is that future updates of FCP will allow you to view the data you search for in more flexible ways – perhaps even in the way you mentioned above!
My usual disclaimer applies – I’m just starting with FCPX, so I have no idea if these are or will be the accepted practices. I’m learning along with you! 😉