[Nick Meyers]

there is a way to de-nest.

basically you open the nested sequence from the timeline into the viewer window.
make a subclip.
now the nested sequence has been trimmed to the section used.
NOW you can apple-drag it to the timeline, and get the clips you want/need.

this comes up every couple of weeks,
so HERE’S A (probably over-detialed) HOW-TO

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

NESTS: How to De-Nest

I’ve been editing from Sequences I’ve loaded into the viewer,
and now my timeline is all NESTS, not CLIPS!
How do i get back to having clips in the timeline?

OVERVIEW

[Nick Meyers]

haven’t heard of that Multiclip issue, before , Mark.

here’s a possible solution:|

with Media Manager
– CREATE OFFLINE,
– DONT Delete unused
– Base media file names on: Existing file names
– REMOVE multiclip angles.

you’ll get a new off-line project that has no multiclips.

– reconnect to the media,
and now do the normal Media Management you wanted to do in the first place.

just a thought experiment, for now.

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

the other number one reason MM wont trim:
your clips don’t have reel#s

do a search of your entire project for TYPE: contains: clip
(if that doesnt get everything, use TYPE: does not equal: Sequence)

all media will appear.
sort by reel#
on the first clip without a reel# create a new reel# (NOREEL would do)
then select all the rest with no reel# and apply the new number to them.

nick

[Nick Meyers]

“Unfortunatly it is not possible for me to change the angle for every clip.”

actually, it is!
simply select all the clips,
and then use the “Switch to next angle” command,

don’t know where that would be in the menu,
i think i fond it in the keyboard manager (tools menu) and mapped it to a keyboard command
apple plus or shift plus.

nick

[Nick Meyers]

did you do a full copy ,WITHOUT deleting unused?
that would be the simples approach, and it may well be what you did.

i’ve seen that Reconnect warning in FCP5.11, and i couldn’t get around it

this is a total workaround, but i cant think of anything else right now:

make 2 copies of your sequence.
keep one as is,
and switch every clip in the second too the other angle.
media manage: Create Offline
don’t delete unnused
delete inactive multiclip angles.

you will get an offline version of the sequences where the clips are NOT multiclips,
and will probably connect more easily.

you could then copy the “Other angle” sequence and paste it into some inactive tracks on top of the “Main angle” sequence.

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

you say you tried using a copied sequnce.
was that copied from the original, or the Media Managed version?

nick

[Nick Meyers]

in this case, it’s the reel#

with the reel# added you may have gotten some other warning about the TC,
and it would have trimmed the file.

but with no reel#, MM will just export the whole thing.

cheers,
nick

[Nick Meyers]

Dave, the real issue here is that those DVD rips didn’t have a Reel Number.

FCP’s Media Manager will NOT trim clips that don’t have a reel#.

one approach to your problem is to simply give those clips reel numbers.
this will still copy the video as well as the audio.

another approach would be to batch export the DVD rips to an audio format,
then to force a reconnect to the audio only file.

cheers,
nick

[Nick Meyers]

yeah, just turn the visibility off on those tracks.

btw, dragging opacity down to zero will result in those sections needing rendering.
the clip is still active, but with a zero opacity.
a better way to work on the clip level: select the clip, and Control B to toggle visibility

nick

[Nick Meyers]

cant help too much with the read/write aspects, but i never export from FCP via Compressor.

it’s a lot simpler to export a QuickTime Movie from FCP,
use “Current Settings”,
then bring that into compressor.

then Compressor can do it;s thing, and not tie up FCP for hours.

another thing might be if your sequence, or possibly tour destination has the / character in it’s name.
that can confuse things in a Mac.

nick

[Nick Meyers]

i suspect that using XML may be more trouble than it’s worth.
if you devise and stick to a simple naming strategy, i think you would make life easier for yourself.

“Project ID_Cut Version_Editor Initials_ Date” seems pretty foolproof

so for instance, my latest cut would be:
B&J_16c_NM_070929
(i like the date in YMD order to facilitate sorting)

nick

[Nick Meyers]

rather than baking the effects in, i use a different technique.

i locate the speed modified shots,
matchframe them into the viewer (where they should have no speed effect)
and then cut them back into the timeline on a set of new, and invisible tracks above all my other clips.

having the unaffected version in the timeline makes the shots survive a media management.

this works for simple speed mods,
cant guarantee it will work with more complex speed effects.

also, i don’t know what will happen with the shots in Color.
for that, maybe a hard copy IS best?

thinking about your weird shots:
some of your master clips in the browser may have speed effects on them, even if teh timeline versions don’t.
that could be the problem.
(this is just a wild-ass-guess.)

nick