[Steve Knattress]

I drive both avid and fcp here in the UK, most of my broadcast work is still on avid, but I do edit fcp at home/ on OB’s.
I have just taken advantage of the cross update so have both fcp and MC on my laptop.I have the appropriate tool for the project..

When I was learning fcp a few years back I used a book called FCP for the avid editor, which was very useful. There is also a web site avid2fcp.com.

I’m sure “reverse engineering” these could be useful, or has anyone already done the inverse web site/book?

Steve

[Steve Knattress]

cut and paste the required section/range into a new project (=new sequence), then export from there?

[Steve Knattress]

[Eli Hollander] “Try Option-right/left bracket key for easy trimming of in/out pouts: just one keystrokeke (with the option key) will trim to your cursor position.
“

This is a function I use in avid all of the time ( top and tail matched to the keyboard from the command palate)

You can rough cut a sequence then quickly move along the timeline removing the top or end of the shot. ( equivalent to mark clip , re-mark in/out, delete)

Glad to see something useful has come to FCP 😉

[Steve Knattress]

One other “biggie” that makes FCPX workflow impossible for me at the moment are the audio output options. (not just OMF etc)

You can only edit in stereo or Surround (the default)

I need to export an M&E with my video,( as direct out.)

Usually A12=Stereo Mix, A34= stereo M&E. (recorded to digi beta)
( one client exports to 8 track IMX tapes)

One client delivers in mono, A1=mix, A2=M&E, A3=fx only, A4= clean voice over,

Other than exporting separate projects (and joining somewhere, and exporting to tape in another application) has any one a work around?

Can the 5.1 surround tracks be used independently?

Steve

[Steve Knattress]

I have the 17″ macbook pro 4,1 (March 2008) which is 2.6GHz and has the Geoforce 8600M GT but with 512Mb of VRAM and that downloaded and seems to run fine ( with limited testing of Motion5 and fcpX)

Steve

[Steve Knattress]

What was your original file format from your camera?

I have a headcam which produces H464 video files, the audio is recorded at 16Khz.

Playing the unconverted camera clip in QT and select the show window>movie inspector will tell you.

As stated above compressor by default does nothing to the audio when converting to ProRes, you need to set the converted audio to 48KHz.

Steve

[Steve Knattress]

If you need to change the level of a whole track, highlight All the segments (or just the section you require)

the you can use modify>levels to change the highlighted segments relatively or absolutely.

As was said there are may ways to achieve the result you wish.

Steve

[Steve Knattress]

If I remember correctly most of the consumer DV cameras in Europe had the firewire in inhibited, but not elsewhere in the world

There were software and hardware “fixes” to enable the interface.

Steve

[Steve Knattress]

Thanks Andy,
yes you have the problem right. The import even directly of the camera card connected directly by USB does not recognise the file structure. (which looks the same as my Fuji stills camera, ie the media in a DCIM directory.)
I suppose its the non standard .xml for each .mov file which is confusing FCP
This did not reproduce above but is used by the camera’s inbuilt “highlight” editing etc.

?xml version=”1.0″ ?
POV2
video name=”/mnt/sdcard/DCIM/2011 Feb 18 14h30m40s.mov” /
tags
tag time=”00:00:16″
hours 0 /hours
minutes 0 /minutes
seconds 16 /seconds
seconds_from_beginning 16 /seconds_from_beginning
/tag
[xml tag delimiters removed]

No baulk, for not easy read boring, just wondered whether I needed to invent the wheel 😉
just need to change the tags into markers and covert to frames!

Thanks all
Steve

[Steve Knattress]

Thanks rafel,

but that intact non-messed with file structure WILL NOT be recognised by L&T as I mentioned.