[Nick Meyers]

Hi, Aaron.

the funny thing is that even if you were using Multiclips,
you;d have to do the same thing you are ding right now.
why?
because Multiclips dont hold markers.
you have to add markers to one angle,
then copy the markers to the other angle,
THEN make the multiclip.

so this is a long way round to saying that yes, i know where you’re coming from, as i’ve had to deal with it myself.
and the best thing you can do is use a Macro app, like Quickeys. (there are other ones out there, but QuicKeys is the one i know)

ther are tow ways to do it, but both invlove getting teh clips in sync first, of course.

method one is the simplest, and you can do this wthout a Macro app,
(but believe me: on a feature, you’ll never regret getting into those macros!)

lay the clips out in a timeline, in sync with each other, on V1 & V2.
select all,
then:
Shift + Right Arrow (move to next marker: will move to the marker on the marked clip)
m (Add marker: a marker will be addd to the un-marked clip)

repeat ad-infinitum

Shift Right Arrow,
m;
Shift Right Arrow,
m;
etc.

when you are done its the clip in the TIMELINE that has the markers,
so you have to drag it back into the Browser, and get rid of the Browser version.

the other way is to have one clip in the timeline,
the other in the viewer,
and have them ganged.
then you do a little keyboard dance that really would be better handled by a macro.
this way, the browser version is marked.

if you have named the markers, then a Macro app is indispensable.

if you want i can send you the marker-copying macros i created for the feat i worked on.

cheers,
nick

[Nick Meyers]

here’s how you can do this in FCP:

drop all the clips into an FCP timeline;

apply Digital Heaven’s DH_Fade filter.
https://www.digital-heaven.co.uk/fcplugins/dh_fade.php
with this you can program a specific fade in AND fade out on a clip.

drag all teh clip to a new bin.
batch export as QTMovie: self contained, same settings.

if all the clips are the same duration you could keyframe opacity in & out on the first one,
then copy and paste attributes: opacity.
if the clip aren’t the same duration the fade lengths will change

hope that helps,
nick

[Nick Meyers]

“Full” quality is FCP thinking that it’s so hot it can play the effected video back at, well full quality.

a real time save if you are laying out to tape.
IF it works.
I’ve seen too many instances of so called “Full” quality being improved with a render, i now have the grey “Full” setting ticked in my Sequence Menu > “render All” selections.

as for exporting, well, like any render, NEW video needs to be created.
if you DONT render it, it will be rendereed as part of the export.
so the epxport takes longer.
(and if you are making a reference movie, the full stuff will be rendered and included in the ref)

then if you decide to export again, (you change the copyright date, say)
the export STILL takes longer as it still has to render all the “Full” quality stuff.

so there’s another reason to keep “Full” quality ticked in the “Render All” settings.

nick

[Nick Meyers]

i’ll endorse Marcus’ plugins as being two of the most useful additions to Colour Correction within FCP.
they’re in MY favourites folder 🙂

(i was just passing and thought i’d drop in…
apologies for a very late addition to this thread)

cheers,
nick

[Nick Meyers]

ah.. not really reconecting

but the way to do this is to MATCH FRAME the clip into the viewer (f),
then edit it back into the Timeline (F10)

if you edit the picture component back, the pic and sound are linked,
but you will lose any motion effects or filters you may have added to the picture.

LOCK the pic tracks to NOT edit pic back in.

nick

[Nick Meyers]

you can get the “offline media” thumbnail on timeline clips, evevn if theyare online.

it’s caused by corruption in the thumbnail cache.

if you delete your thumbnail cache,
all the thumbnails should re-draw.

thumbnail cache may be still in the defual location:
Home Filder?Documents?Fimal Cut Pro Documents?THumbnal Cache.

otherwise do a search if you don’t know where you’ve put it.

nick

[Nick Meyers]

my experience is that FCP OMFs will include any effects work doen in SOUndtrack Pro.

they will NOT include filters applied in FCP.

if you WANT the FCP filters, i thnk it;s as simple as NESTING those clips.
no need to export and re-import.

as for removing the STP effects, i dont know a quick method,
but that’s just because i don’t affect things in STP if i know i need to make an OMF.

there may be a quick method, but i kind of doubt it.
what do you you get if you select the “Sent” audio in the timeline and hit Option Apple F?
that *may* bring up the original source file,
and you could do a replace edit to get it back into the timeline.
(or it may bring up the new STP file??)

nick

[Nick Meyers]

you should be able to colour-label a clip in the timeline.

if it’s not there as a right click option,
use the shortcuts.
option apple 2-6.

cheers,
nick

[Nick Meyers]

not a dumb question, it’s actually a common request,
but unfortunately there’s no shortcut for that.

you can Option Apple F on a subclip to bring up the source file as a clip in the viewer.
this clip is not associated with any particular project.
you can drag it from hte viewr into the browser, but you;ll then have a second instnace of the clip in your browser.
not terrible, but probably not want you want.

another thing you can do is to Modify > Remove subclip limits.
this will “open up” the subclip so the entire original clip is available to edit with.
the sub loses it’s limits, but keeps it’s name.

this comes up often enough.
you should put in a request to Apple.
maybe we’ll get it one day.

cheers,
nick

[Nick Meyers]

i assume you know the editor, or know their work?
it’s always worth talking about specific films, and moments in them.

from memory, the Lobruto book used pretty much the same list of questions given to all the interview subjects.
it got a bit boring after a while, and was sometimes really annoying when the editors mentioned something interesting, and he didn’t pick up on it, and instead just moved onto the next question!

i preferred another book:
“First Cut: Conversations with Film Editors” by Gabriella Oldham
https://www.amazon.com/First-Cut-Conversations-Film-Editors/dp/0520075889/ref=pd_bxgy_b_text_b

nick