[Ronny Courtens]

As I had never noticed such an issue I just did a test.

Here’s a clip with attached audio:

Here I have cut the clip and the attached audio in three parts:

Here I have deleted the middle video and audio clip (tried it with the other clips as well) and I don’t see any other audio deleted than the one associated with the video clip I delete:

Can you tell me where your workflow differs from mine so we can find out why this does not work for you?

– Ronny

[Ronny Courtens]

Bill, I think this is an excellent initiative and I agree with Craig: all thumbs up.

Having added this event to my calendar I can see it will start on Thursday morning 4 a.m. in my part of the world. So I will be watching you while sipping a strong cup of coffee (-:

– Ronny

[Ronny Courtens]

All generalizations and favoritisms aside I think no-one can deny that FCPX is rapidly gaining ground. When I look at another forum I frequent I can see a massive growth of active FCPX members, especially in the past few months (I just checked: about 1,000 new members in 2 months time, only on that one forum).

So is FCPX popular? Yes, undoubtably. Is it also being used successfully in feature films, in broadcast post, under highly demanding circumstances? Absolutely. Is it the perfect one-stop solution for every editing task? I guess not, nor will any other NLE ever be.

But FCPX keeps growing. And what I particularly like about this growth is that with every major update another glimpse of its underlying power is revealed. I honestly think we haven’t seen the real FCPX yet. If it would end up to be just like the rest I would be disappointed. At this time it is a very decent professional NLE that easily stands up against any major competitor for most workflows, but I think this is just the starting point. And IMO that’s the biggest difference with FCPX over other NLEs.

– Ronny

[Ronny Courtens]

You are correct, Chris, and I agree this may (or not) be a more complex matter.

I just wanted to state that it is easy to say general things like “workflow Y is perfect, fast and flawless” while in the real world you will have circumstances where it just isn’t.

The same goes for relinking in FCPX. If I were to share only my personal experience I would say it is perfect, extremely fast and reliable because with all the relinking and media management we have done in the past year on literally hundreds of projects we never had one single issue with it. But I don’t do that. Because we are very meticulous about our workflows and our media organization, and I know other people may not be.

FCPX doesn’t let you “force” anything, so you have to know what you are doing from the start. Changing file names for original media is not an issue, as opposed to what has been said above. But FCPX will not let you relink to media for which you have changed the timecode or the duration or the audio channels. Because if it would let you do this, this would probably screw up your edit anyway. And I think that’s a good thing.

– Ronny

[Ronny Courtens]

[Lance Bachelder] “On the other hand Premiere CC re-linking is awesome, fast and it will drill down into however many subfolders necessary until it finds the correct file.”

I don’t think everyone agrees on this: https://forums.creativecow.net/thread/3/943725#946335

– Ronny

[Ronny Courtens]

So you know that Adobe’s XMP ID overwrites all FCPX metadata making the media incompatible for re-importing, and yet you don’t uncheck this option in PP or AE and then you blame FCPX for not being able to re-import media that you have screwed up with XMP ID? Okay…

– Ronny

[Ronny Courtens]

Instead of pressing the Space Bar press SHIFT+CTRL+O (“Play To End”) to play the selection beyond the out point.

– Ronny

[Ronny Courtens]

Hi Sascha,

The reason could be that the audio sample rate in the AVI file was not 48kHz, and FCPX does not like audio that is not 48 kHz. Of course you would reply: yes but I had FCPX convert the file to ProRes, so logically that should also optimize the audio to Linear PCM 48 kHz?

Yes it should, but here’s my guess: FCPX uses the Compressor engine to optimize your video to ProRes. The standard ProRes setting in Compressor uses Audio Passthrough which means it does not alter the audio of your file, just the video.

As I prefer facts over guessing I did a test. I imported an H.264 file with AAC 44.1 kHz audio in FCPX and opened the inspector. The audio sample rate showed 44.1 kHz, as expected:

Then in the Event Browser I selected the H.264 file and I converted it to ProRes, which is the same as when you optimize the file upon import. When the conversion was finished I went into the Event > Transcoded Media folder and I opened the ProRes optimized file in QT player and pressed CMD+I to get info for the file. Guess what: the AAC audio had been converted to Linear PCM, BUT the audio sample rate still was 44.1kKHz:

This shows that when you optimize a file to ProRes FCPX does not change the audio sample rate. In most circumstances this is not an issue as FCPX does handle different audio sample rates quite well. But with your specific AVI file this could be the problem.

If you convert the audio to AIFF 48 KHz yourself this should fix the problem. But I think FCPX should do this automatically when “optimizing”, as 48 kHz is the standard sample rate for FCPX projects.

– Ronny

[Ronny Courtens]

Are you sure you switch back to “original media” before exporting?

– Ronny

[Ronny Courtens]

Now that is weird. What is the format of your footage? Are you editing in native format or with your media optimized to ProRes? What type of graphics card do you have in your system?

– Ronny