Robin S. kurz
Forum Replies Created
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Wow… thanks Wes! 🙂
To answer your question… my bad, I forgot to tell you that you can’t actually see the field for the camera ANGLE in the BASIC view. Should have pointed that out. You have to use the little “Basic” pop-up at the bottom to switch it to EXTENDED. In that case you see and name the angle. But since you only have two cameras, you probably don’t need the angle, because that doesn’t actually change, come to think of it :). That would be more for when you used the same camera for different angles.
The reason the very SHORT clips probably didn’t sync, is most likely because of just that… they’re very short. Too little to reference and compare. FCP will just have slapped them on the the beginning and end by way of the date/time stamps.
I’m rather surprised that it didn’t actually create any GAPS! Are they *not* date/time stamped? Because normally it will (when set to automatic) check the stamp, position them roughly by that, then fine-tune with the audio. So if you stopped one cam for e.g. 20 secs, then it SHOULD insert a 20 sec gap clip to represent it. But then you could try setting it to date/time manually and see if that changes anything. I could actually see that (I think) your recordings were much longer overall. I’d bet if you took ONLY the overlapping clips (e.g. your first very short clip and whichever Jessie clip corresponds [timewise] with it, the 25753 clip with the 20005 and 30005 an so on) and synced those individually, then it’d probably work perfectly. Only you’d have multiple MCs that you have to string into the timeline. But you’d still be able to edit them all in the camera window during playback nonetheless. The overall audio is probably too indistinct to sync in bulk, yes.
But I’m glad it worked out for you (in general), and I’m envious of your little aquatic-excursion! 😀 Hope to do that myself some day!
Cheers, Robin
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Good point. They’re saved separate from the prefs in a folder somewhere, yes. Forgot about that. 🙂
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A restart is always a good first move, yes.
And FWIW: you can save/export your keyboard settings and load them back in. So they wouldn’t actually get lost.
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Happy it worked out!
But I’d personally LOVE to know what would happen if you (as I described before): named camera and angle of the individual clips of each compound, then selected them all, made THAT into a multicam and used audio-synch (no marker). Because if everything works out as I would suspect (and the date/time stamps aren’t WAY off), then I think you’d be pretty damn amazed… 😉
Would you mind indulging me? 😀
Or even if you did the same, just without the marker but rather just audio-synch (though the fact that you have various start/stops in there may throw it off). Because I’ve had camera audio before that I literally thought wasn’t even existent at first because it was so quite. And FCP even managed to synch THAT. I was flabbergasted.
This is all of course assuming that each camera in fact recorded more or less at the same time each time.
Oh yeah, just on a side note, you can actually leave the audio-synch on at all times, too, even if you have markers set and chosen as your synch method. Because FCP actually looks down the list of settings and if it sees that you chose markers, it will use those first. BUT… if you have audio-synch enabled also, and it doesn’t like the synch via the markers, then it will use the audio to supplement the marker synch. It will otherwise ignore it. Pretty cool if you ask me. 😉
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That’s something you’ll have to do through Compressor. That’s assuming the project isn’t that size.
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[Michael Angelo] “Is there anyway to deal with the size limit of the filter search window when creating Smart Collections if you have lots of keywords?”
Unfortunately, no. I feel your pain.
[Michael Angelo] “I’d rather use my marker notes and text searching to drill down to a finer detail level than my keywords.”
The simple text search filter at the top of the event isn’t doing it for you? Then again, I use FAVORITES for “indexing” clips, not markers. Because with markers, if I’m searching for a certain word that I indexed, FCP will only filter out the entire clip(s) with the marker and I still have to scroll through to find what I’m looking for. On clips with 30+ markers that’s no real help. With favorites on the other hand I’m only given the marked section that fits the search!
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What you want to do first and foremost, is name both your cameras and the angles in the inspector for each group of clips. Then I would try NOT making compounds of all of them, but rather selecting them all INDIVIDUALLY and try synching them that way via audio synch. Or have you tried that, which is why you’r doing it the way you’re doing it?
If you want to stick to doing it with compounds, you’ll want to do the same with those two clips also (camera and angle name). Because FCP clearly is a) assuming they are both from the same camera/angle, which is why they end up in the same angle track, and then b) is probably going by the date/time stamp which is possibly way off (by 13 hours?)?
I would check the date/time stamp of each camera and correct any discrepancies first (in FCP), then do as I described above with the INDIVIDUAL clips and audio synch. I think you’ll be surprised how cool that works! Especially since you clearly have start/stops in-between (no?), which would also be taken into consideration.
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[Mark Morache] “I frequently need to do the shift-F twice. The first time it opens the browser to all the clips, and the second time it finally shows me the matched clip with the range set.”
Yes, have had that a lot, too. That is, if I’m in filmstrip view and/or don’t have the event but a keyword collection etc. selected (so that FCP has to do the switch). It’s fine in list. But this is something you should definitely send feedback on. They know of it (from moÃ), but it’s always good to see/know that annoying inconsistencies are reproducible elsewhere.
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⇧F? Works just fine.
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[Sascha Engel] “Will FCP7 still work with Mavericks?”
On a regular Mac? Sure.