Robin S. kurz
Forum Replies Created
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[Michael Williams] “So are there tweaks one can do when generating the multicam clip that might get FCPX to generate different sync results?”
Which technique is decided completely upon the quality, length and other properties of your footage. If a simple audio-based sync isn’t getting you the desired results, then there are various other options you can try, yes. For that I would highly recommend either this
https://youtu.be/1KeklPP6XEM?t=1h35m52s
Or even better, going straight to Ripple’s multicam training for any and all details.
– RK
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[Herb Sevush] “So I guess you don’t know Oliver Peters or David Lawrence”
No, I don’t. You’re right.
– RK
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[Steve Connor] “care to start another one about the benefits of the magnetic timeline?”
There’s always this: https://library.creativecow.net/austin_charlie/FCPX-Timeline/1
Or this (basically the same): https://fcpxpert.net/2015/01/12/exciting-webinar-taming-the-timeline/
Or any one of these: https://www.youtube.com/user/pixelcorps
Whereby the benefits only set in once you’ve understood the basics and have used it in production. Anyone that hasn’t used it or only used in sparingly will tell you they hate it and it’s useless yadda yadda yadda. No one that *I* know that has taken the time to wrap their head around it would ever want it to go away again. But if you’re fine with what you have…
– RK
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[Michael Sanders] “My current thinking is to see if I can find a way of taking the audio into something like Protools or Logic Pro X and make a multi-channel WAV file.”
Sure. You could simply send it to Logic via a simple XML export or via AAF to ProTools. I just don’t see what advantage that would bring. How is is working with audio components in the timeline not more than enough for what’s being described? That is pretty much exactly what they are for. Makes editing multichannel audio an absolute breeze. WORLDS easier and faster than e.g. with 7.
– RK
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[Douglas Ziesemer] “To fix this problem I did the following:
Decrease the size of your text until the chunks disappear.
Increase the size of the text in the video tab.”I believe that’s what he describes he’s done.
I for one can’t reproduce the effect, no matter what I do. No matter the size nor font. I have it all the way up to 500pt and have fiddled with any and every setting, but nothing unusual happens. One can only assume it’s your font, I guess. Is it a standard font or a third party one from somewhere? Have you updated to 10.1.4 and are still seeing it?
– RK
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[Zachary Potter] “DVR can’t acces media inside a bundle”
Not actually true. Resolve sees FCP X Libraries as regular folders that can be accessed as any other.
No need for any breaking up or ClipExporter or what not. Simply be sure to consolidate your library (be it to the library itself or elsewhere), export an FCPXML and include the library (or folder) you consolidated to, done. As of v11 I know of little (some special plugins), if anything, that can’t be correctly interpreted by DVR. Even any color-corrections you may have done are translated (optionally).
– RK
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[Michael Williams] “So what I need to do (I think!) is sync and then cut the sequence of video shots (preferably using the multicam angle editor if possible). “
No, you certainly do not want to be doing any editing in the angle viewer. That would be completely counter productive.
[Michael Williams] “2) put the clip into a project, copy it 8 times, one for use as only an audio lane.”
That’s ridiculous if you asked me and rather embarrassing that a “senior supporter” would suggest something like that.
The solution is in fact simple: you sync everything as you described, i.e. with all video and audio tracks, and in the project you want to use the AUDIO COMPONENTS feature for editing in and out of the audio as needed. It’s absolutely brilliant imho, and the exact thing you’re looking for. But to explain the ins and outs of using it would be asking far to much of my keyboard. I highly recommend you look at e.g. Ripple’s training on the subject to get up and running much much faster. For example this: https://bit.ly/14vbotD
Or even start with this (also from Steve of Ripple Training) to get a taste of what I’m talking about: https://www.youtube.com/watch?v=EAtrqUo6YBw
– RK
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[Scott Witthaus] “But once I dug into the software and realized that all the power I was used to and more was in there, simplicity became elegance. And being a teacher of new editors, you are right there as well. They learn so damn quickly it’s amazing. Apple did something very right with this software.”
Couldn’t agree more. A truly brilliant interface imho is one where you DON’T see absolutely everything all the time. For what? Just to look “professional“? You see and have access to any and everything you need the most, and everything else is tucked away and is easily accessed when you need it. To say (superficial) simplicity is somehow the hallmark of inadequacy or to consider that simplicity—without in fact sacrificing any functionality whatsoever, but in fact gaining more, but without it being in your face all the time— to be some sort of disadvantage, strikes me as rather short-sighted. I’d say the classic book-and-cover scenario. That simplicity, for me, is in fact the first and foremost standout feature of X.
No, I don’t in fact need a button or tab or panel or whatever for every last little function or task, thank you. 🙂
And the shortcut that is analog to 7’s Extend Edit is ⇧X btw.
– RK
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To be honest, I expected it to be far easier to “convert” than it actually was, which can be attributed to the bizarre and impractical decisions made in the original. It should have taken less than a minute, but it took at least ten. Or at least it felt that way. Lucky for you, after about 4-5 mins. I was so confused with the damn thing, that I just HAD to know what was going on and had to fix it! 😉
Glad it helped.
– RK
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[Jenn Lindsay] “I tried it and then I got a little scared because the whole timeline disappeared.”
Then you probably selected EVERYTHING before compounding, which you of course shouldn’t do. You would want to—as I described before—drag out the title to an inordinate length and then right-click on ONLY the title and choose “New Compound Clip” or simply select it and hit ⌥G. That you could then truncate to just the parts you want to see.
BUT… you in fact have chosen the least suitable title for that, yes. Meaning the whole compound thing wouldn’t in fact be of any use with this one. The only thing you could in fact do is create A STILL of the frame you wanted from the compound and… never mind… that would be nonsense. No idea what the person who built it was thinking, but yeah, it’s only on screen for like a frame before disappearing. Pretty useless. It’s actually built very strangely and highly convoluted in general. Took me a lot more digging than I had thought to figure out what had been done, where and how… a mess.
To cut to the chase and get the job done without all the hick-hacking, I’ve simply made you a version with a build-in and out option (the way it should have been) that you can download here: https://bit.ly/1xjM8gV
Simply expand the folder and put it, as is, in the “Titles” folder that is in the “Motions Templates” folder in your “Movies” folder.
And maybe take a look here when you have some time off: https://bit.ly/1fuy8ul 😉
– RK
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