[Mike Warmels]

I doubt it’s luck.

[Mike Warmels]

Oh okay. Well, I’m still on 10.2.2 since my client is still on that, and they can’t upgrade yet because they have to upgrade the SAN first and run all the tests. I am on El Capitan though. Just waiting to upgrade. Maybe all the slowdowns and stutters are somehow finally solved 10.2.3…

But I had these complaints when I was still on 10.1.4 and everyone said: it all goes away when you’re on 10.2. Well, there was a marginal improvement. Maybe they finally solved it in 10.2.3… but I am a little sceptical.

Thanks for the trouble shooting page. But if I have to take this seriously, I really don’t get the ‘Pro’ part of FCPX. Because basically it says: shut down everything but FCPX, and don’t use all the features. And yes, that’s why you bought a $6000 computer from us, with 6 cores we hardly use. Personally, I think that is insane.

But again, for xillionth time I will check out these things. What else do I have to do while waiting for the beach ball.

[Mike Warmels]

Okay, well, that’s kinda strange that for some reason it didn’t happen last time…

Thanks for all the efforts!

[Mike Warmels]

Please do, because this may be exactly the problem of the huge stacks of audio tracks in the exports. I know the editors disable all the unused (and sometimes muted ) channels in Inspector. And yet, they do turn up in the export.

My thinking was always that X2Pro exports the clips. And all those multiple tracks are IN the clips. But I am not sure if that’s how it really works.

[Mike Warmels]

Yes, that’s bad stuff. It’s in cases like this the multiple timecode windows are invaluable. You can spot something’s wrong immediately and also where the problems are.

Not synch with identical timecodes: that means trouble in the in timecode registration! Which makes you check immediately if it gets worse. In fact, you can even spot that immediately. I think I’ll post another feature request.

[Mike Warmels]

Yes, there was. But it would be nice to be able to see that immediately. Now you first have to go into the synched clip and check the TC of both the video and audio separately. A multiple TC window would give me that info at one glance.

[Mike Warmels]

Ah wow… even faster! thanks!

[Mike Warmels]

Oh wait…

This bit I don’t get:

“With multichannel clips, the only way to not have all the components appear in an AAF, is to disable individual components in the Inspector. If you only want CH-1 & 3, you need to uncheck all the others. Even if you tell X2Pro not to include “disabled” clips, disabling multichannel components in the timeline won’t work, as the clip enclosing the components is still enabled.”

So does this mean if I have an 8 track audio track from recording on location (or a four track audio included in XD-Cam video), I can disable tracks in FCPX but it will still all go into the export and end up in Protools?

[Mike Warmels]

Oh wow… yeah, pretty complex. Maybe I can help these guys out with this info.

But yeah, it’s not really simple. Plus, to me this feels like you have to do a lot of things twice. And when you forget to do something (and FCPX will allow you to forget things) you’re in a big mess.

If I just add up from import in FCPX to AAF export:

1. Make sure all the codecs, frame rates, frequencies are the same, if not convert
2. Create Library en check settings
3. Import
4. Add roles to audio
5. Order everything in events, folder, keywords etc.
6. Edit and turn off audio you don’t need (disable, deselect or detach and remove)
7. Export to X2Pro
8. Work on settings for audio tracks you want discarded, bundled etc…
9. Export.

Again… it’s quite a bit of work. That’s one of the things of AVID I prefer, because this workflow is much easier.

1. Create project with project settings
2. Import media (which gets converted to project settings if necessary)
3. Order media in bins
4. Edit
5. Create AFF settings (and save as profile for future use)
6. Export to AAF

The next time you cut you can leave step 5 out of it. I do think in this workflow AVID is doing much more of the heavy lifting than FCPX and gives less room for mistakes.

[Mike Warmels]

Well, the simplest way to do it, I think is select the clips from one project timeline, use Shift-Z to raise them to the second storyline, copy them, use alt-cmd cursor down to put the clips back into the original primary storyline, go to your other project timeline and paste. And it’ll end up in the secondary storyline, just like they were when you copied them.

It actually makes sense you just can’t copy from primary to secondary storylines if you ask me.