Michael Hancock
Forum Replies Created
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[Tony West] “BTW you still haven’t answered my simple question. What is the method to find the clips that you cut out of the timeline? Just explain it. It shouldn’t be that hard since you supposedly use this method all the time.”
Not to answer for Oliver, but Simon covers this in his article.
“I duplicated that sequence five times to make sequences of all the material for each woman. Then I made duplicates of those duplicates and began removing everything I didn’t want.”
You string everything out, then duplicate your sequence. Cut away. If you need to go back to a clip, you open the original string out and grab it.
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Michael Hancock
Editor -
I bet the new iMac Pro, completely specced out with the max of everything, will easily top $8-$10,000.
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Michael Hancock
Editor -
Thanks Joe and Francois.
Joe – I’ll do some testing based on your post to see where things can go wrong and if exporting/importing and replacing events will work.
Francois – MergeX looks really interesting indeed! Is this your software, or are you using it? I’ve emailed them to see if they have a demo available for testing, prior to purchase, but for $50 it might be worth just buying it. If you’re using it, have you run into any issues or limitations? Any bugs you’ve found?
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Michael Hancock
Editor -
Make a smart collection at the library level (in the Smart Collections folder) that only shows Used media. It will populate with all the media in your open sequence. So make the smart collection, open your sequence, select all the clips in the Used smart collection and create proxies.
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Michael Hancock
Editor -
[Matt Wilson] “I have some keyword collections I no longer need, but wondered if deleting a keyword collection deletes all the clips in that keyword collection, or just removes that keyword from browser?”
Just removes the keyword. The clips still exist in the event.
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Michael Hancock
Editor -
Select your clips in your event, open the inspector, go to the Info tab, set it to “Settings”, then change your log processing to None.
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Michael Hancock
Editor -
Just watched the second video – it’s a little dishonest, in my opinion. A compound clip is similar to using a sequence as a source, but it’s not the same thing. You don’t have reference to the individual clips until you break it apart, you have to take every clip in the compound clip and can’t choose which audio tracks you want. Does it roughly achieve the same result? Sure. But is it the same thing? No. It’s less flexible and doesn’t give you nearly as much control as actually cutting directly from one sequence to another. That might be okay in some circumstances, but for how I work I prefer how Premiere or Avid do it.
And I agree with Steve’s reply – I’d prefer the ability to skim sequences (projects), and edit from that project directly into another one as either individual clips, or edit in the range as a compound clip (like Premiere). 99.99% of the time I would want to edit in individual clips, but I’m also a big fan of having options!
So yes, compound clips are a decent workaround, but you lose the ability to see the individual edit points of each clip, which I really like. Especially if you have an NLE that allows you to color code your clips. At a glance you can see all of your red clips, which are beauty shots, green clips are sports, blue are good emotional moments, etc… I do all of this in FCPX using favorites and keywords and smart collections, but being able to color code and string things out would be very welcome and useful. And being able to skim/edit from one project directly into another would be a big improvement.
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Michael Hancock
Editor -
[Bret Williams] “Call it browser pancaking or something but it’s pretty functionally the same.”
I would say pancake timelines and FCPX collections really aren’t the same, and the video doesn’t address what I consider some rather substantial differences. My thoughts on why they’re substantially different:
In the video example, the editor had 4 timelines open to pull from, where each timeline could hold a few or a lot of clips but still be zoomed to show every single clip in the timeline (or zoomed to show only a few at a time – editor’s choice), and they are presented in relation to each other based on how the editor built the sequence. In FCPX, you can’t do that. You can select a keyword collection, or several of them, and zoom out so the icons represent only a thumbnail of each clip, but if you have a lot of clips you will still spend a lot of time scrolling up and down to see them all. There is no way to get a top down view of every clip you’ve pulled for each keyword collection, in the order you added them to the collection, like you can with a selects sequence, unless there are only a few clips in each collection. I have a project open right now where I selected three keyword collections I built of selects. I’m in filmstrip mode, completely zoomed out, with the icon as small as possible. it’s 340 clips total, and I have to scroll up and down to see them all. A lot. If these were three timelines stacked I would have a view of every clip and could scrub left to right to go through them all. In FCPX I have to scrub left to right, and up and down.
In addition, the clips in a selects sequence are stuck in relation to each other in time, which won’t change unless you delete a clip or insert one somewhere in the middle. You can always add more clips, but append them to the end so the rest of the timeline is unaffected. I think this becomes a very important difference as you work with the material.
In a Keyword collection, every time you add a clip to the collection the order might shuffle depending on the name of the new clip, or how you’re sorting them. It’s not easy to control the order they are presented as concretely as you can in a sequence. This is an important distinction, because any spatial memory you might develop in regards to “I remember a great lens flare shot near the beach scenes, which are in middle section of my ‘beauty shots’ selects reels. I’ll go straight there to find it in this selects sequence” doesn’t exist with a keyword collection. You have to remember both the horizontal and vertical relationship of the clips, and the vertical relationship changes every time you zoom in or out. You could easily tag the clip as “lens flare” and find it with keywords and metadata in FCPX, but that’s a different approach than a selects reel or pancake editing. I remember where things are in relation to other clips when they’re in a sequence much easier than I do where they are in bin/event/keyword. Your mileage may vary.
I like to relate selects reels and pancake editing to my desk. If I were at home sick and someone needed to find something on my desk, I could tell them a where it to look without having to be there. My pen is always under the right monitor behind the pad of sticky notes. My coffee mug is always on the left under the monitor riser, next to the cable to charge my phone. I’ve built up a memory of where everything is, like I do in a selects reel. With FCPX, I haven’t been able to replicate that, even with smart collections and keywords. Instead, I rely on lots of tagging and metadata and doing searches, which works, but has a very different feel and rhythm to pancake editing and selects reels.
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Michael Hancock
Editor -
https://www.eoshd.com/comments/topic/24245-davinci-resolve-14-banner-goes-up-at-nab-2017/
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Michael Hancock
Editor -
[Daniel Jewesbury] “What I’m not getting really is the way in which my audio (now shifted from the primary storyline) insists on being attached to the b-roll that is now in the primary storyline. So when I drop a few video clips in and fine tune the edits with a ripple, it now wants to shift the audio along too. “
This is the FCPX magnetic in action. If your broll is now the primary storyline, the audio will always be connected to it, so adding/moving/trimming the primary will shift the connected clips (your audio), with it, unless you use the position tool. But if you use the position tool you lose the ability to do your normal trim commands. Instead your trims will leave gaps and you will need to mouse around a lot.
Try this –
Select all of your audio and make them a secondary storyline. This puts them in a container, like a track, that has only one connection point. And by default the connection point will be the first frame of that storyline, which will probably be connected to the first frame of your video. Now you can trim/insert/overwrite/extract your broll at will and the audio storyline won’t slip and slide around, unless you do something to the clip that the storyline is connected to.
If you want to use the position tool and move a clip without moving the audio, hold down ~ on your keyboard when you move the clip and it will temporarily disable clip connections, leaving your audio in place.
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Michael Hancock
Editor
