[Ron Fya]

[Michael Hancock]
If I want to remove all audio channels from a clip I just match frame, Shift+2 (Video Only), then Replace from Start to quickly recut the clip back in without audio. If I need the audio back I just match frame, Shift+1, Replace from Start. Pretty fast, and all keyboard driven.

I learned only a few days ago about shift+2. Very handy indeed especially if you do it before dropping clips in the TL and if you want to deactivate ALL audio channels. Not just some.

Good reminder. Thanks 😉

[Ron Fya]

First thank you guys for trying to answer those questions. I’ll try to clarify a bit.

Hey guys,

Just a quick bunch of questions I have in my mind for some time now to answer by either “yes + how” or “no”.
It’s not a matter to explain/understand/debate about why I would want to do this or that. I understand that it might not be relevant to everyone. I just want to gather as many answers as possible if it may be of some use to anyone.
Many thanks. Cheers !

1.
–> seems impossible indeed. Too bad ☹

2.
–> I rephrase my question:
Is it possible to copy a range from the timeline and paste (overwrite or insert) it at the mouse/skimmer’s VERTICAL position (be it in a secondary storyline, BELOW or ABOVE some already placed clips or somewhere else) ?

3, 4, 5
–> seems impossible indeed.

6.
–> so far seems impossible indeed but it would be great because having a keyboard shortcut to enable/disable all audio channels (or anyone of them: nº1, nº2, …) of the selected clips in the INSPECTOR without digging into it would allow (for the clips you do it) to make the audio completely disappear from the timeline should you expand all the clips components to mix your project. Contrary to all other methods of “just” muting sound.

7. Actually someone answered that on another forum. It is possible to resize the viewer window by clicking on it and use shift+Z like you would do in the timeline. That also works in the browser in filmstrip mode.

8. the problem with cut & paste as Michael Hancock suggested, is if your timeline gets crowded, it pastes the clip on top of every other which is not something you always want. I understand though that this is something that makes more sens in a track based NLE rather than with FCPX magnetic timeline (which I loooove).

9. I admit that the question was a bit keyboard shortcut geeky oriented ????

10. Forget that one. I was talking about connected clips and my reasoning was:
If I want to select it right away after dropping it in the timeline it is because FCPX does not center the timeline’s view on it vertically and horizontally just after you placed it in the TL. But quite often, just after you placed it, you want to edit it. So having a quick keyboard shortcut to center the view on it would be great.
BUT somehow, when I noticed that re-centering no happening, I had some audio lanes opened. And in that case FCPX does not recenter the view on the clip you just connected whereas it does indeed recenter the view if audio lanes are collapsed So all good here ????

11. Sorry. 2SL= secondary StoryLine. But I think it is not possible even tough you can do it with 2 adjacent connected clips.

[Ron Fya]

This is really the biggest PITA about syncing audio in FCPX or Pluraleyes.

I used to use a Keyboard Maestro action for that but it doesn’t work anymore for whatever reason I don’t understand …

Please Apple fix this.

In the meantime if anybody has a reliable and efficient solution I would be glad to know.

Thanks.

[Ron Fya]

thank you
I will give it a try

[Ron Fya]

Michael Cinquin,

I read your webpage about using the digital color meter (DCM)to judge about color sync oddities. Since you wrote it, the app has been updated and the options in its menu have changed. Can you help me understand the current version ?

You can view values as decimal, hexadecimal or percentage. That is fine with me.

But when choosing what is measured, you can choose between the following:
– display native values
– display in sRGB
– display in Generic RGB
– display in Adobe RGB
– display in L*a*b*

and there is also a box indicating which color sync profile is active on mac right now.

I get confused about two things:
1. What is the meaning of “native values” here ?
2. What is the actual influence of the color sync profile active on the mac ? I mean, if I display your proofing image with the cat in any application (photoshop, vlc, quicktime, fcpx) the measured values from DCM change when I change the color sync profile.

As an ending note, I have only a MacBook Pro. No monitor whatsoever for grading. I know it is not ideal but I don’t have the money. I only calibrated it with a Spyder for photographs.

So I would like to know if there is any way of getting the MacBook to display the closest possible image to that of a broadcast monitor to color grade a movie in DaVinci Resolve.

Thank you very much !

R.

[Ron Fya]

nobody on this ?
😛

[Ron Fya]

actually, it’s better with the screencap …
😛

[Ron Fya]

Yeah Roland, I could do that.
Actually, my only option right now is just that : getting a good compromise between the differences I see between players’ display.

I have two questions.

1.

The screencap attached is from a Pixar anime played on VLC (left) and Quicktime (right) on Mac OSX Lion.

I took an anime for the screencap because it is more straightforward to see.
VLC seems a bit darker with more contrast and Quicktime a little brighter/washed out.
Looks like a gamma difference to me.

Do you guys all observe the same difference in tonality on any video you may play on these players ?
Which on to trust then when making your own videos ?

2.

The more general version now.

Imagine the guys from Pixar or Dreamworks for example. They have to make movies that looks OK nearly everywhere (cinemas, tv, internet, etc … ) as a video but also other products as pictures (posters, ads, magazine, commercial toys, etc …).

What is their typical worflow and checkpoints for color and tone (i.e. gamma) since the same digital file will generate plenty of stuff in different final mediums ? How to handle color management the right way for big projects ?

Yeah, pretty big question I know. I just began to read the book from Bruce Fraser but didn’t yet read anything addressing this.

😛