Robin S. kurz
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Sorry, but whether you want to insinuate some imho far fetched relationship or reference between the two claims or not, still doesn’t change that that wasn’t even close to my actual point. If anything, I was referring to the possibly more laborious OUTPUT (not editing or import) to film due to the lack of the normally needed exchange formats by default within FCP X. So you may want to actually ask what was meant first next time, instead of simply making assumptions. Thanks.
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Well, you clearly know the needed workflow for that then. And as I already said, feedback to the page is always good.
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[Jeremy Garchow] “So frame accuracy is suddenly irrelevant?”
Um… when and where exactly did anybody say that? Seeing that it’s a direct response to my post, apparently I did?
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[Jeremy Garchow] “See, but what if I nay need ProRes or HQ for Red material?”
Wait… so you want LESS color-space / quality for your RED raw? Okay. Then simply use the workflow you described. Or run it through REDCine? That or Resolve is what I use either way for a decent one-light. There are various options.
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No, it can’t. Like I said, I was inadvertently doing it with clips that were also being used in another event, which is why they were in fact never actually trashed. Hence my initial confusion. I wasn’t even seeing the dialog box.
And again, like I said before, once you trash BOTH instances, that is the clip in the event AND the clip in the timeline (or the one in the timeline first, then the one in the event… whichever) with ⌘-DELETE, obviously, then even a match frame won’t bring it back. If you’re able to match frame, then you clearly haven’t deleted it from the timeline.
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[Michael Gissing] “Although the article calls it as a Cold Mountain moment I don’t see that is a relevant comparison.”
I’d say you’re grossly overthinking the matter. 😉 The “Cold Mountain moment”, at least as *I* understand it, is merely referring to the moment when FCP (in that case legacy) was “legitimised” as an NLE for editing features. As in long form, massive data etc. Something many questioned was possible then… and now. I’m pretty sure everyone knows that the overall circumstances were in fact completely different, yes. But feature films are nonetheless in a league of their own in terms of the technical, organisational etc. demands. Along the lines of “If your car can go 200mph, whether you actually ever do it yourself or not, you know it can easily go 60mph”… if ya know what I mean. 🙂
And yes, if things were actually still telecined etc., then X wouldn’t be nearly as useful. But then, as you say yourself, that’s pretty much irrelevant today. Unless you’re Quentin Tarantino. 🙂
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[James Ewart] “but only when you delete a project.”
Yes, like I said, only in the case of projects. Not clips. They go to the Finder trash. I simply assumed we were talking specifically about clips going by your initial question. Oh well… at least it’s all cleared up now.
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[Bill Davis] “One thing often discussed that doesn’t show up in the basic render manager is generating audio waveforms. “
Not actually true. Waveform rendering in fact does (i.e. should) show up as a “Render” background task. But they also won’t keep you from quitting either, as e.g. transcoding will.
[Bill Davis] “starting off with lower precision models”
What is that?
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[Andre van Berlo] “where as with a compound clip I can just add it to one of the cuts and it’ll become visible in all the other cuts as well. (kind of hard to explain)”
Yes, that’s to be expected. Works the same way with multicam clips also. You are always working inside the MASTER clip with both, there are no separate, autonomous instances as with synced clips or even regular clips for that matter.
But I wouldn’t put a generator INSIDE a compound to begin with, especially if you expect to need different ones for different instances. It would be much easier to simply use a different generator etc. in the project. But if you insist on doing it that way, then you can simply duplicate the compound in the event and use that, or duplicate it in the project and select “Reference new master clip” from the Clip menu. That will create the dupe in the event for you and place it in the timeline in which you can change the generator or whatever without affecting the others.
[Andre van Berlo] “you have to right click a synced clip while a compound clip can be double clicked to open in the timeline.”
In fact simply clicking the little icon at the top left of the compound in the timeline ONCE will open it.
[Andre van Berlo] “I’m guessing it’ll not necessarily be an improvement.”
If you do the same as you have till now, probably not. But if you adjust things accordingly (such as what I described) it very well should. It will give you much more to work with on a metadata level also.
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[Charlie Austin] “It’s in the Library package”
Like I said: nope.
[Charlie Austin] “That’s the expected behavior, X now works like 7 or Pr in that deleting a master clip in an event does not delete it from projects in which it is used. If you delete a clip from the browser, and then delete it from a project (if it’s the last instance of the clip in the Library) you will get a confirmation dialog.”
Exactly. And I was expecting exactly that, only I wasn’t seeing it. Which is why I was confused. BUT… I actually have to redact my last post also, because only now did I realise that I was working with footage that was also in another Event. Which is why it wasn’t in fact trashed as expected. Duh! My bad.
So, yes, it’s in fact just as I said originally and am now seeing it when working with a completely “autonomous” event. Deleting every instance of a clip from your event(s) AND project(s) will in fact move it to THE FINDER trash. I have yet to see or hear of a library trash when it comes to clips.
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