Richard Herd
Forum Replies Created
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I re-read the original post and I think understand.
The problem is in the sequence preferences. CMD-0 (zero) and look for the audio section. In there, you can set some preferences, details regarding how FCP handles audio. In a nutshell, you need to tell FCP which audio tracks are relevant.
Maybe this will have more details: https://documentation.apple.com/en/finalcutpro/usermanual/index.html#chapter=53%26section=2%26tasks=true
Check out audio output preset.
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[Tessa Verfuss] “I’m still curious about why FCP wouldn’t bring in a quicktime exported from FCP itself from a merged/linked clip with more than 2 source media files. Maybe its just a bug in 7.0? I’ve tried it on a couple of different projects with different media and I can’t get it to work.”
I’m not exactly certain what exact process you’re following.
Put the clips in the timeline. Then before you export, you need to set in and out points in the timeline. Then export. As I’m reading what you wrote “…more than 2 source media files”… I mean, everything I’ve ever cut (movies, ads, docs, corporate, industrials) have dozens of source media files.
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That’s a good idea.
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If I was the other editor, I would want you to use Media Manager, send me the FCP project and media itself — either put the media on a drive and snail mail it, or upload it to a web server where I could download it. I would not want a self-contained export.
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What about…
Creating individual FCP sequences for each clip. Each sequence will have to have the same timecode details especially media start and end times as the original clip.
Import the original clip, delete the audio, import the new audio into the same audio format as the original recording, sync it, export the new FCP sequence and name it identically as the original clip, but save it to a new folder.
Then try relinking media to the new FCP sequences.
You have to sync ’em up anyway, so that painstaking detail won’t go away. So the only new painstaking detail here is getting the start and end time of the new FCP sequences the same as the start time on the original media items.
Having said all that you’ll probably have to recut anyway.
Having said that too, just spend the $500 because it will fix the problem starting now and for forever.
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Also, it’s worth looking up pixel pitch. Won’t matter in the file itself of course, but the display does matter. That is, all monitors are not equal.
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You answered your own issues right here: [Dan McCain] “Because the funder knows “the agent” they have given him the money to manage the project as an executive producer and he is hiring my production company to produce it. “
Smile and say, “Show me the script, storyboards, shot list, shoot schedule, and post production schedule, and I’ll execute it.”
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Just thought of something: When I hear LED lights, my mind thinks nightclub/concert type thing, and that means you can’t really control the environment.
However, if you can control the environment then a light that is significantly brighter than the LED light could render it moot. For example, I used to shoot ads for a nightclub. We’d set up a scene in a booth, and I’d have to light it really bright. It’s important to note that the LEDs in the club were relatively low light. And the bright lights in the booth I set-up-in were very annoying to the paying customers, so we did this before the club was busy and really fast, like 30 minutes maximum.
Hope this helps!
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What the hell is content? Nobody buys content. Real people pay money for music because it means something to them. A great song is not just something to take up space on a Web site next to stock market quotes and baseball scores. — Courtney Love