Simon Ubsdell
6
COW Coins
Forum Replies Created
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[Darren Kelly] “In FCP7, any use of a drop shadow would grind things to a halt.”
I think I’m right in saying there’s no drop shadow in FCPX yet.
As for the rest of your question, FCPX definitely gives you more “real-time” capability, though ultimately you do have to render everything, whether in the background or not. How many layers will obviously depend on a number of factors so a meaningful answer is probably not possible.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[John Pale] “but what problems did you have with DNX”
Subjectively it has always felt a little soft by comparsion with ProRes and I think others have mentioned this before. And DnxHD in FCP is not a delightful experience (but that’s another story) …
Also it cannot handly higher than 1920 unlike ProRes.
But they are mostly extremely similar in performance.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Brian Cooney] “so DNX will behave and render as quickly as prores?”
My subjective experience is that DNx is not as good as ProRes but I am sure there are people here better able to give you an expert opinion.
I don’t see that you need to abandon ProRes justbecause you are not using Final Cut though … It’s just a codec like any other (although in my view better than msot others) and will play nicely with Premiere, and indeed Media Composer.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[John Pale] “People who try to make an Avid work like FCP (or vice versa) are always the most frustrated editors. Each system has its own way of doing things and its best to learn it rather than fight it. FCP X is no different.”
Absolutely – although the worst of all are the AVID editors who wanted to make FCP work like AVID 😉
I was suggesting this workaround (semi-tongue-in-cheek) more to point out that FCPX isn’t quite as limited in its available functionality as the magnetic timeline debate has frequently suggested.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[John Pale] ” It doesn’t have the encoder farm capability of Qmaster, if you use that.”
But it will automatically use all your cores which is a great performance boost over Compressor without qMaster clusters.
Plus it obviously supports Flash which of course Compressor doesn’t.
And it will make MPEG2’s with as large a data rate as you like up to 80 Mbps – even the new Compressor is still limited to 40Mbps.
A very powerful tool – shame about the progressive download limitation.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[David Battistella] “In terms of M&E why not do it with multiple timelines.”
A good trick suggested below by Timothy Paytonis to use compound clips for this. For example, put all your M&E into one compound clip and solo it.
The other good thing about this way of working is that you can apply “channel” effects to grouped clips, for example, to compress or EQ all your dialogue.
For now, it’s definitely a good workaround.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[David Battistella] “I don’t think FCP 7 ever did this.”
In FCP7 you could import all the images of the sequence with the preset set to one frame and then drag them all to the timeline and nest the result. It wasn’t great and the QT7 route was better but you could do it.
You could actually do the same with FCPX (setting the Still images default length to one frame in the Editing prefs) and make a compound clip of the result.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
Hi Jeff
You would be better off making the cutaways into a secondary storyline (Cmd/G) rather than a compound clip – that way you can quickly apply fades to either end (Cmd/T) and you can create a dissolve in between your two cutaways just as easily.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
3) You can open your Motion 4 template in Motion 5 – you then need to Save it to the correct folder for FCPX to see it. The path is User/Movies/Motion Templates, then select the appropriate folder within that structure so you can find it easily within FCPX.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
Works fine for me. Either Detach it, as Nick says, then Break it Apart (Shift/Cmd/G) or Break it Apart directly. Either way you’ll end up getting your audio seperated out into separately editable clips.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com