Mike Warmels
Forum Replies Created
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Ha, good one. We did enjoy it for a couple of years, though.
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Just duplicates. And no, no compounds. They do of course contain the same clips (it is a duplicate after all), including (jn the most recent Library) a bunch of synchronised clips.
But I’ve run into this issue before. Moving them to a separate event within the Library helps a lot. But I find it kinda strange.
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Hehehe, good one.
I wonder though. FCP7 used to have a nice tool for that, on screen in the master window. Why did they abandon that?
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Indeed.
Plus, in my country we still have to supply broadcast master MXFs starting at timecode 00:01:55:00… So yeah, you can wish timecode would now away. But very often you still need it.
And there’s also the audio situation. I often shoot with separate audio and synching is way faster by using timecode than by audio analysis. And much more reliable. It makes a computer do what it does best: putting the numbers together. It is, after all, just a bloated calculator.
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Not one person in particular. Some Larry Jordan stuff, some trial by error stuff, I consult a lot of internet tutorials to see how to do things, I had some great advice from Creative Cow people and I sat a lot with FCPX editors finishing my cuts , where we also talked a lot about how to do things (better of clever).
Now, I am not in a big corporation. I just have a stand alone set on which I run AVID and FCPX (and in the past FCP7 for years).
But my client has a ten suite operation and I frequently work in another post-production facility that has another eight or so. There’s a bunch of editors that hasn’t worked on anything else but FCPX and they like it fine. But when I ask about the usual issues (the slowing down of FCPX in the course of the day, the sometime odd graphic displays (like waveforms in music that don’t match the sound at the end of the graph), or the audio synchronisation issues (that you helped me out with before), or the sometimes overlong relink media times), they all recognise that. But they don’t have issues with it.
I do… since I never had such weird issues on FCP7 and AVID.
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Well, I’d like it. Especially in working with synchronised media.
My client did a lot of synchronisation work using Synch’n’Link. But… in some cases the audio is not in synch. There’s no clear cause to be found why some clips are out of synch. But… I would like to see what the situation is. Is the timecode wrong? (so I can tell my sound recordist that his time code lock is off sometimes?) Has Synch’n’Link made a mistake and if so is it consistent?
It’s one of the many cases I can think of that time code is suddenly still very important, even though FCPX makes it appear it’s not.
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If it’s me you’re referring to… I cut on FCPX three to four days a week. An have been for well over a year, since one of my clients only uses FCPX. I am gaining experience, exchange experiences with a lot of editors, but for some reason I fail to see the greatness of FCPX.
Same with this video… it’s a great way to organise stuff, and I use it extensively. But… to me it’s only ‘different’ from organisational methods in other NLE’s. Not necessarily faster.
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Yes, what you say makes sense, of course.
However, it seems with FCPX’ sensibilities, the skilled path is a pretty narrow one. It seems all pretty straight forward and simple to get into. But when you get deeper into it, it isn’t as simple as FCPX makes it appear. It’s deceptive in that way, because FCPX accepts everything you feed it (be it MXF, MP4, Apple Pro Res, AVCD, MP3, 48Khz, 44 Khz) and seems to handle it all within one timeline. But it doesn’t handle everything as well as it accepts it. And that means everyone working on it (even producers or directors that make rough cuts) must be very very skilled. I.e. knowing ALL the pitfalls. And if you don’t, there’s serious trouble down the road.
Currently I’m having these issues with the synchronised audio. Where multiple audiotracks get compressed into one. Now I put it all together, checked and it looked fine. But… I forgot to double check them in the Inspector while editing with them. So an entire cut was made, without access to the separate audio tracks.
Now, I’ve tried to solve it, but I can’t get the synchronised tracks to work in the “synchronised clip” at all. So a) it’s incorrectible in the cut because FCPX made some error with it. and b) I can’t fix it either without putting every clip back by hand and by cutting and pasting from the synchronised clip opened in the timeline…
I’ve had similar issues with synchronised audio before. And eveytime I think I learned the pitfalls and new one present themselves. To me that doesn’t feel very “pro”. It’s a often buggy ride.
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Nice video. It still doesn’t strike me as particularly faster than other NLE’s though. He obviously did a lot of work organising his favorites, notes etc that he’s not showing, but a lot of work has been done.
I kinda liked how he stopped stacking video layers as he did in FCP7. Since, in AVID, people generally don’t stack a lot (is my experience).
I’m still looking for the edge that makes FCPX so much more interesting that makes it compensate for its bugginess and workaroundiness…
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Okay, what about this one.
I have a synchronised clip. There should be three “tracks” of different audio. But they are all merged into one.
I open the clip in a timeline. And there’s the audio clip. When I select it. I see only a wave form in the first track. The same in Inspector. When I listen in Inspector to the second track, there’s audio there, no wave form.
When I use F4 to see all track in the same audio clip IN the timeline and just listen to the second track, there’s NO AUDIO… It doesn’t make any sense at all…
FCPX… Pandora’s Box.