Robin S. kurz
Forum Replies Created
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[Bill Davis] “T did quite a bit more writing on the Pan Law than just that tweet”
Then I think a link would be in order? Since that’s the closest I got via the big G.
[Bill Davis] “My take away was that it’s a bit of a conditional and somewhat fluid problem.”
Actually, from what I’m told and what I’m understanding, the original problem isn’t a bug, no. Unfortunately, for some annoying reason, I’m unable to edit my previous post to reword it accordingly, since I think it misrepresents what I actually meant. What’s most definitely a bug is what I described is happening in the event.
But as far as the OP’s discrepancy is concerned, I’m told “You could automatically raise the volume when you drop a mono clip into a stereo timeline, but probably people don’t actually want that to happen. It is left the same (split sum, as I eluded to in my first post) so if at any point switched back to mono you won’t get distortion, as you would/are likely to if it WERE automatically raised.” Which was my initial thinking, makes sense, and basically coincides with what T. is apparently talking about (somewhere) in more detail, yes.
– RK
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To be more precise… I take it you’re referring to THIS: https://twitter.com/tpayton/status/704789195043155968 ?
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich!What is the Pan Law used in NLEs DAWs and #FCPX? Here it is in a quick graphic. pic.twitter.com/FJnJfK3HRU
— T. Payton (@tpayton) March 1, 2016
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See here: https://www.movie-slate.com/sound_dept/ 😉
– RK
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BTW, since I just now have the case of NON-QT footage (mxf), I would add that the workflow merely involves also using “Shot Notes X”. You first import (i.e. wrap) all the footage into FCP X (in my case) via archives, then generate an event XML, take that and the MS XML and import them into “Shot Note X” (as of late it ‘understands’ Movie Slate XML) and then generate a third XML with all the needed info that, again, you simply double-click and get any and all keywords, favorites, markers, ratings, notes etc. etc. etc. etc that you entered on set for each clip. If you also have the “Sound Dept.” plugin for Movie Slate, then you even get your clips with synced audio. That saves you minimum yet another day of work.
Metadata FTW. I’m blown away by the entire workflow.
– RK
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I actually spoke to someone “in the know” and yes, it would certainly appear to be a bug and has been filed.
I fiddled with it a bit and found that if you are e.g. getting -4dB initially in the event and -10dB in the project, then change the panning of the clip in the event, it changes to -10dB in the event as well. If you reselect it, it plays at -4dB again.
– RK
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[Scott Witthaus] “I saw that there was a starting timecode in the dialogue box. “
Do you in fact have jam-synced TC?? Because otherwise that’s relatively pointless. Though having relatively synced date/time stamps (as in in +/- a few seconds at the worst) and using “Content Created” AND audio as your angle sync could very well improve the sync a lot.
Syncing by TC requires jam-synched TC to work. By content created you need at least fairly synchronous date/time stamps. “Start of first clip” syncs by in-point of every clip, and by marker, well, self-explanatory I’d say.
[Scott Witthaus] “If I uncheck audio for sync, will X automatically look at timecode on the three angles?”
It actually is (of course) much more brilliant than that. You can leave the audio syncing on, no matter what. Because if you select a different angle synchronization method, then FCP X will simply use that method FIRST, but still will do a secondary check of the audio to see if there are any discrepancies and make further adjustments if needed. You can test that by setting a marker very very roughly (i.e. not frame accurate) on two clips that have syncable audio, set it sync with markers, but leave the audio sync on as well. It will still sync perfectly.
A good method to speed things up on very long clips, since FCP doesn’t have to search for an initial joint sync-point first. At the same time, if you in fact have any other frame accurate reference (e.g. via TC) turning the audio sync OFF can also speed things up, since it won’t do the analysis.
– RK
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Just gave it a shot, and it looks great and, worst case, is definitely a great (i.e. much better) starting point. Thanks again!
– RK
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[Michael Hancock] “You may be able to make your own: https://cameramanben.github.io/LUTCalc/“
Day-um! That’s a cool lookin’ app! 😀 Thanks for the heads up! I’ll definitely have to check it out… especially at that ridiculous price.
[Michael Hancock] “If you test it, let me know if it works.”
Wow, thanks! I’ll give it a shot and let you know. Otherwise tool around myself also.
Cheers,
Robin____________________________________________________
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[Scott Witthaus] “f I were to sync up these two cameras into a multi-cam clip, what is the best way (or is there a way) to go through the mc clip and kword collect or ‘favorite’ the best areas? Can I do this on a mc clip like any other and still keep the ability to switch angles if needed?”
Multicam behave as any other clip in the event. I.e. favoriting, rejecting, keywording etc. does the same thing as with any other clip.
Having had to do a multicam with PPro 2015 recently (containing clips of various resolutions for one), I can only concur: MC in X definitely rocks in comparison to any other MC I have used. I have fresh bald patches to prove it. 😉
– RK
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[Drew Hayes] “but would love to know what is going on here.”
I’d say it’s because you have the panning set to STEREO, even though it’s merely a single MONO track. Therefore splitting the sum across the two channels of your STEREO project… equals half the volume? Have you tried switching to mono panning??
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich!