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  • Tangier Clarke

    November 11, 2020 at 12:35 pm

    JJ Johnson, I have been trying to figure out to what extent FCP X is controllable using AppleScript. I got a timeline full of compound clips that I want to replace with their synced clips. I have the synced clip equivalent in the browser. I am doing it manually right now. It would be great if I could use a macro or script to help automate the process. Is this possible?

    My manual process is:

    Select the next compound clip on the timeline (which puts me at the first frame)

    Go the first frame of that clip

    Get the source timecode of that clip

    Find the same name of the that compound clip in the browser, but as a synced clip

    Go to same timecode in the clip as above

    Set the in point

    Replace from start (option + R)

    I don’t know what’s scriptable in FCP X. I could use your insight. A lot of times I do this in clip groups meaning – if there’s a scene/take 8F.1, I work on every instance of that clip first in the timeline so that I stay with that clip in the browser. This way I am not searching constantly in the browser for the next synced clip named the same as the compound clip in the timeline which (being an edit) could happen non-sequentially; like 8F.2,3T.6, 1.4…etc.

  • Tangier Clarke

    November 9, 2020 at 2:00 pm

    I am glad I’m not the only one to notice this Andreas.

  • Tangier Clarke

    November 7, 2020 at 9:33 pm

    Jeremy I think you have the problem solved. Here are images of the same overlay applied using the new custom overlay feature and as a graphic on top of my video.

    I’d prefer to use the custom overlay feature (at least until I finish the edit) since it won’t invoke any potential rendering like an actual graphic in the timeline would.

    I made the file in Pixelmator. Nothing fancy and pretty simple. It’s a 16-bit PNG.

  • Tangier Clarke

    November 7, 2020 at 9:27 pm

    Not sure what you mean. There’s no pixelation at all. I just notice that the overlay doesn’t fit properly and allows these lines of pixels to peek through at the top and bottom. Perhaps it’s just simple math and I’ve made a mistake. However when I have the (what I think is the properly formatted overlay) applied, it doesn’t sit cleanly over my video. As i resize the playback window sometimes it will be clean, but mostly it won’t.

    So either I have the dimensions wrong, or something strange is happening inside FCP X.

    Consequently the overlay that seems to work best is a 4096×1716 visible inside a 4096×2304 overlay. However I wouldn’t have chosen this since my footage is 4K/UHD.

  • Tangier Clarke

    August 7, 2020 at 10:29 pm

    I actually had all of the layers and groups of the most graphic, animation, and video-intensive portions of this project I am working on disabled when I posted this.

  • Tangier Clarke

    July 27, 2020 at 4:09 pm
  • Tangier Clarke

    July 15, 2020 at 5:32 pm

    Thanks Robin. I hadn’t considered the last option; the very basic idea of exporting the background with the light as an image, bringing that back in, and cross fading between the two. Sometimes the best idea is really simple, but overthinking something and looking for non-existent options gets in the way.

  • Tangier Clarke

    July 15, 2020 at 4:22 pm

    This is what I want to happen:

    One thought, as I mentioned above, is that I set the intensity that I want to end on and use the Z parameter to move the light further away to the point that it matches the color of the background as if there were no light at all. I haven’t found this to work well either though and can’t get them to match.

  • Tangier Clarke

    July 15, 2020 at 4:19 pm

    This doe not work. I am aware of the intensity parameter. If you have a solid color and then want to fade up the glow of the light, you cannot do that. It’s been asked by the people as well. Having an intensity of “0” causes the underlaying image go to black rather than keep ing the color and fading up just the glow falloff. If there’s something you’re doing to pull this off please let me know.

    See screen recording here.

  • Tangier Clarke

    June 23, 2020 at 5:53 pm

    Yes, I did. I still wish it was built in and frankly the benefits of FCP X (in my opinion) far outweigh using this feature in PPro.

    My solutions require two options: 1) LTC Convert (now LTC Aux), 2) Tentacle Sync Studio

    Without going through the entire process here’s what I’ve developed:

    -Footage with LTC (on one audio channel provided by a Tentacle Sync or similar device) slaved from a recorder such as a Sound Devices unit.
    -Use LTC Convert to rewrite the Quicktime timecode track with the LTC
    -Import picture and audio files to FCP X
    Export XML (because Sync N Link X doesn’t support LTC nor does FCP X)
    -Import to Sync N Link X
    -Send back to FCP X as synced multicam or synced clips with naming based on the audio files (which retains the scene/shot/take info)

    This has been a great workflow for me and though it sounds long it’s very fast. I sync days of footage in minutes with all of the metadata in tact in file naming the way I want. This also organizes clips that couldn’t be synced.

    I’ve worked with Gregory Clarke Intelligent Assistance over the years to incorporate features for Sync N Link X to be able to dynamically decide whether it should make a multicam or a synced clip.

    The other option is to use Tentacle Sync Studio as well. This is relatively recent though. For too long it was not able to send individual synced and multicam clips to FCP X and when it could do any of those there were often problems with the results. It’s gotten a lot better and may be worth another look.

    Mind you I developed the above workflow for narratives, but it can work for anything that has timecode between picture and audio that can be synced.

    What I have sought to achieve over the years as I looked for solutions in PrPro, WooWave DreamSync, PluralEyes, FCP X, and a few others is the following:

    -Maintain all metadata after syncing including iXML.
    -Keep original audio from the camera always available.
    -Individual synced clips in the browser/media pool instead of a timeline of synced clips.
    -Support for LTC .
    -Maintain the creation timestamp when exporting media.
    -Being able to batch sync your media.

Viewing 1 - 10 of 480 posts

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