Nick Meyers
2
Premiere Pro Coins
Forum Replies Created
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you have your browser, or the bin set to show icons.
set it to display as a list, and things will get a lot easier.control click on the *background* of the bin or browser to change the view settings.
Shift H will toggle through the settings, too.i agree, it;s criminally stupid not to have a “sort by in-point” setting in icons mode.
“duration”? what were they thinking?nick
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oh, that’s too weird!
i think you should trash your preferences.
read this:
https://www.lafcpug.org/Tutorials/basic_trash_prefs5.htmlnick
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the post is less than a year old, so it may well be referring to FCP5.
try it.
he does recommend making a back-up so you can always go back.
nick
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seems to me everything’s running smoothly for you.
only thing i;d say is there should be no need to change the reel#’s FCP does that for you.
nick
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batch list os only for browser items.
or rather bins.
you’d have to do a separate list for each bin, if you wanted to keep any organisational structure you may have.if you want an equally simple way of dealing with the timeline, export an EDL.
this wont contain ANY effects at all.
best way is to use the Media Manager to create on offline sequence.
delete unused media.the only real MM problems i;ve seen are speed changed shots going wonky.
to prevent that from happening, or at least to hap you gete around the problem,
put a copy of any speed change shots on a new, invisible track ABOVE the existing shot.
on the copy remove any speed changes (best way it to matchframe, & cut back in)this will acutally prevent simple speed mods from going south on you,
but it might not save shots where you’ve done speed ramps.
for those that DO go south,you now have the original media, and you can copy/paste the effect.simpler than re-building everything.
nick
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a master-affiliate relationship has to exist for this to work,
and it’s not too hard to break that relationship.
it breaks if your clip is in one project, and your timeline in another.
and on larger projects, keeping track of it can just get too hard for FCP, and it just crumbles under the pressure.
twice i’ve gotten a warning telling me that due to some corruption i’ve lost it.luckily my projects are well organised, and i know where to find the clips just by looking for them.
there is an option to use “Create Master Clips” (in the tools menu)
this will create new master clips for you for all the clips that don’t still have the relationship.
they’ll get put into a new “Master Clips from (Sequence name)” bin
if you’ve got any organisation going, you’ll then have to put al those clips into appropriate bins, and ditch the old one.nick
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you must be referring to “The O’Neil Hack”:
nick
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ANOTHER way:
work out howe much media you are missing from hte head of the clip on hte new capture.
write donw notes for EACH clip detailing this amountreconnct, ignore all warning.
FCP will connect the clips form hte head.
in your cut, slip each clip by the amount noted.cheers,
nick -
make a new project.
copy the original offline master clips into it
capture now again into this new project.if you have MORE media than you need you;re OK
if you have LESS, then it’s a worry.
you could REBUILD them using the original clips as a guide.
re-build a copy of them in a new sequence, adding slug at the head to pad to size.
change the seq TC to match that of the original clip.
EXPORT,
re-iport & add a reel # (you could also fix the TC now rather than before if you like)now you can go back to your original project and connect to the new “Frankenstein” clips
and never use capture now again!
(without art least leaving more than 3 seconds handle) -
i sync in the timeline,
breaking down into slates at the same time, if necessary
then LINK (select pic & audio and Apple L)
then RETURN to open into viewer,
then Apple U to make into a SUBCLIP.i wrote up instructions for the film school i worked at last year.
rather specific to the way things were done there,
but i can e-mail you the PDF if you want.cheers,
nick