[Nick Meyers]

this is super easy using the 3-way colour corrector.

one way is to use auto white balance:
each of the 3 colour wheels has a tiny eye-dropped underneath it.
use those eye-droppers to click on areas of eh image that you know should be white, black, or grey.

another way, since you have footage you like,
would be to use that as a guide,
and use the MATCH HUE function

i just googled to get links to the ken stone and / or larry jordan tutorials,
but there’s a bunch of other’s there too:

<https://www.google.com.au/search?hl=en&q=Final+cut+pro+match+hue&btnG=Google+Search&meta=&aq=f&oq=>

cheers,
nick

[Nick Meyers]

right click in the TC field in either the timeline or canvas.
there are options for TC, feet 7 frames,
or just frames.

cant imagine how you could have done this without knowing!

cheers,
nick

[Nick Meyers]

that’s a time re-map,
and the controls for that are in the Viewer’s Motion tab.

haven’t used it much myself,
but you could surely google for some tutorials.
here’s one:
<https://www.kenstone.net/fcp_homepage/fcp_4_time_remap.html>

nick

[Nick Meyers]

Hi, Jonno.

“Is there any reason the merged clips become unlinked/unlocked while on the timeline even if I haven’t removed any sections of sound?”

in my experience clips do become un-linked without you expecting them to,
almost “while you aren’t looking”

i’m NOT saying that it just happens on it’s own accord,
but that the things we do while editing,
the many, many things that we do instinctively without thinking about them,
often produce situations whereby the audio becomes un-linked.

i will often find clips that are un-linked,
and probably became unlinked a long time previously,
and i cant remember what it is i’ve been doing.

one small example that i just DID notice:
i had a liked clip in the timeline with some picture over-hanging the audio at the head of the clip.
i marked it with in / outs and did a ripple delete,
and the clip lost it’s linking.

this does highlight that it’s things you do at the HEAD of a clip that affect the linking.
if the overhang had ben at the tail, i wold have ben able to do that same edit without losing the link.

IMPORTANT

i just tried your process of trimming clips,
and as soon as i make the ripple edit on the audio with the pic tracks locked,
bang! i lose the link on that clip.
and not just to the right of the edit, but all of it! (which surprised me a little)

rather than locking and un-locking, what i do is to simply make the edit.

of course i get a raw butt-cut at that point,
but both sides of the edit are still linked.
and i can easily roll the picture to a new edit point.

TECHNIQUE SIDEBAR – EXTEND:
often i’ll use the EXTEND function rather than rolling.
i park the playhead where i want the new cut to be.
select the edit point,
and hit E (for extend)

you can also select the edit, play the timeline, and hit E on the fly if you chose to.

ANOTER EXAMPLE, MAYBE OFF POINT
recently i’ve been cleaning up some bad audio.
let’s say there is some audio junk in the first 10 frames the clip,
i could blade the audio of the first 10 frames, with the idea of slipping it to some clear fill.

TECHNIQUE SIDEBAR
i do this by double clicking just the audio into the viewer, where i can see the waveforms
hold SHIFT, and drag ether the in or out point – they both move together,
also you are scrubbing the audio.)

back to the edit:
now the pic is linked only to those 1st 10 frames, which are now out of sync.
so i’d have to select, un-link,
re-select the major part of the clip and re-link,

on the film i’m doing right now, i’ve got lots of sync shifts already, so the clip is now marked as in sync, when it isn’t.

RE-LINKING SOLUTIONS
in the above situation, i have been doing this:

Option Shift drag the audio clip don to an empty set of tracks.
(option makes a copy, Shift keeps it in sync)
the copy is not linked,
i can do what i want, in this case find some fill,
then shift drag it up to the original tracks,
overwriting the head of the inked audio.
the remainder of the clip is still linked.

when i find clips that have lost their linkage, and i want to retain a sync waring i do this:

select just the video,
bump it up to a clear track
(option + up down arrows will bump clips to higher & lower tracks – cant do video and audio at same time)
make a note of the sync offset,
put it back in sync,
link,
put it back OUT of sync,
bump it back down

boring!
if this was a bigger show, i’d write a QuicKeys Macro.

==================================================================

RUSHES MERGING, RE-MERGING
what you describe shouldn’t be a problem,
but i don’t use merging

rather than merging in the browser,
i generally prefer a system where we line up picture and audio in a timeline,
then LINK them.

i haven’t had the luxury of matching TC yet
but even if i did, i suspect i would still work this way.

for one, it’s easy to do a quick check of the sync before committing to a link or merge,

secondly, once the clips are in sync it’s easier to automate, using QuicKeyes or some other macro app.
there are XML solutions for getting them into sync.

up to your assistants, i guess.

==================================================================

MASTER AFFILIATE ISSUES:

“copy the ‘import’ project, rename it as the ‘cutting’ project, open it, then open my original cutting project and move all my bins to the renamed import project, then delete all the import bins so the Match command doesn’t go looking for the rushes day bins.

hmmm… it might work,
but you shouldn’t copy everything at one.
copy just the sequences.
i suspect then copying the clips might not force a link to those newly copied clips.

you should also try copying just sequences into a new project, then copying just clips.

on the feature i was cutting last year,
there were some scenes i’d already cut by the time we’d figured out the correct process for copying.
i reckon i would have tried these sorts of tricks (sorry it was a year ago, i cant remember the details)
but i don’t we think we did find a simple solution.

i recall my assistant having to over-cut those scenes,
thereby creating a version that DID link back to the browser clips.

she worked with a copy of the material,
then i copied it back into my project:
clips and sequences separately, of course

hope that helps,
nick

[Nick Meyers]

Digital Heaven have a whip-pan plug in.
i think it even comes with sound effects!

nick

[Nick Meyers]

finally, make suer you sequence is set to “Best” motion scaling.
do that in the sequence settings > Video tab.

nick

[Nick Meyers]

have you played with the ORDER of the filters in the filters tab?

nick

[Nick Meyers]

i dot know much about FCE (never used it, in fact)
but in FCP, there is USer reference (editing tab) for “Always Scale Clips to Sequence”
so when you edit a non-standard clip or graphic into a sequence, it scales to fit.

copying from one sequence to another and getting a huge mismatch ins sizes like you are getting
indicates to me the two sequences do NOT have similar settings.
it sounds like one is Standard def, and the other is HD.

nick

[Nick Meyers]

hi, lindsay.

you could have a corrupt sequence.

copy the contents of that sequence into anew one,
and see if the problem persists.

nick

[Nick Meyers]

yeah, the function exists,
but i think you have to assign it a key command.

open the Keyboard layout manager (option H)
and type match frame into the search field.
you’ll find all the variations of match frame in there.

now it USED to be that you could assign good old f to “Show Match Frame in Multiclip”,
and it would still work as per normal on a non- multiclip.

but that as been changed with FCP7 🙁
you now need 2 commands.

cheers,
nick