[Tangier Clarke]

When FCP X first came out in 2011 and I noticed it’s sliding panels instead of separated windows interface, it wreaked of being prepared for an iPad (or other mobile device) at some point and I wrote about that somewhere here on the cow. Albeit I thought it would have happened by now. Let’s not forget that an important component of Apple’s hardware and software pursuits is the energy usage of said device(s). Perhaps ARM is part of that equation, perhaps not. Though certainly there has never been a moment when I didn’t think that many of the it’s GUI and UIX elements were primed for mobile well ahead of time, perhaps even before the desktop version. Only time will tell I guess. Many things just don’t end up seeing the light of day as market forces change.

[Tangier Clarke]

I’ve had this issue several times in projects where I just needed that last note or chord to hold a little longer. No amount of features in FCP X did what I needed to make it sound natural. Ultimately I went into Logic Pro X, recreated the sound for that one note or chord (as close as possible/passable), exported the audio file, then imported/edited that into my cut. Each situation may be unique though depending on the note/chord being played and for how long in the original, along with the attack on those notes.

[Tangier Clarke]

Oliver, I started scouring the interwebs because I was intrigued that you got back a DNxHR file at all from the C300 MKii. I can’t find that spec anywhere. I went to B&H first simply because it tends to be easier to find the specs than on Canon’s site. Were they using an Atomos device?

I tend to use the MediaInfo app to really scrutinize media I have problems with to see it’s full format information.

[Tangier Clarke]

I just noticed this post Ronny. Thanks. Thanks to Oliver Peters and Peter Wiggins as well. Glad I could contribute something.

[Tangier Clarke]

Is there an emoji for embarrassing oversight induced by too much FCP X use?

[Tangier Clarke]

I am having somewhat a similar problem:

• Exported a storyline from FCP X to Resolve using XML
• Resolve imported the storyline just fine including all of the multicam clips
• The only audio that relinked was the audio that was part of the camera recorded video
• I cannot relink the separately recorded audio in the multicam clips unless I move the audio in the Finder (Mac) from it’s original source and into the media storage folder where the video clips are.
• Then I must go back into Resolve, select the multicam clip in the media browser and choose to conform from media storage.
• After the previous step, the audio clips in my multicam clip are relinked

• I cannot find a way to individually just relink the audio clips in the multicam clip
• I checked the DaVinci Resolve supported formats (https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_15_Supported_Codec_List.pdf) and my audio files meet acceptable decode specs.

Any ideas?

macOS 10.15.2, FCP X 10.4.8, DaVinci Resolve 16.1.2

[Tangier Clarke]

Joshua I think many of us are on the same page in some ways. Some features are so unique to an NLE and particular workflow that it’s hard to move onto other platforms. Script sync for you is like roles for me. I can’t say it enough. I do not like track-based NLEs anymore. I still use them. I just don’t prefer them. Keywords (smart ones too) over bins for me. Realtime effect preview without even applying it, smooth playback, and fluidity of moving around the app…sign my up. That’s what FCP X is for me. Believe me, there are features from other apps I’d like FCP X to have like the PPro shape tool, AI reframing, perhaps even script sync, wider search options (grep-like) and more robust collaboration. Yet no other app just gets out of my way and let’s work almost as fast as I can think the way FCP X does. Granted it’s an app who’s development is fine tuned for Apple hardware.

My career hasn’t been built on having to work collaboratively with several editors often. I’ve been in post for about 18 years now and was one of the last classes in film school to use, touch, and splice celluloid film. I am not saying I don’t work collaboratively with other editors, but I haven’t had to simultaneously that much compared to the amount of time I work on my own before sending content to post sound and graphic designers. It seems like the content we’re editing, the workflows we’re a part of really dictate the tools we use; not to mention the embedded workflows and egos paired with unwillingness to try something new and in some workplaces.

I commend you for learning AVID after the others. That is a feat for sure.

[Tangier Clarke]

Joe I agree with you on this point “I would more readily expect some kind of greatly improved AI-type media analysis.”

I would consider Apple to implement something like an AI-based method of marking when the slate claps on a video with no audio guide track; something that would make the process of manually having to sync video with no timecode and no audio waveforms to match to recorded audio with (I hope) at least a similar time stamp.

I look at what Adobe did with the AI reframing and again, it’s another one of those ‘c’mon Apple get with it’ moments. I am so accustomed to seeing Apple employing ease of use features in a range of their products that it’s striking to see them not implement features from other NLEs. Though surely they have their reasons and definitely their priorities. Of course we have be mindful of the memory and energy overhead any feature may cause on the (plugged in) system. I’d wager some features Apple wants to make available to mobile devices like laptops and iOS devices…eventually.

[Tangier Clarke]

What I am saying is I shouldn’t have to isolate the scene in the smart keyword collection. Since the scene number is embedded in the name anyway, I should be able to simply type in the search field “13”, while having my smart keyword collection selected (which only isolates synced and multicam clips), and I get clips that at least have “13” in the name.

This is significantly faster than me isolating smart keyword collections for each scene or changing the smart keyword collection for each scene. When I want scene 14, 22, 59, etc, I should be able to (as I’ve done for many years now) just type that into the search field and I’ll get those scene results since the number is in the clip name anyway.

This is not happening. I am getting the clips I want and a large amount of clips that don’t fit the search criteria and I am trying to understand why that is.

When I type “13” in the search field I am getting synced clip results that have no “13” in the clip name, no “13” in the video file within the synced clip, and no “13” in the audio file for the synced clip.

If this helps to make more sense: my synced clips names are based on the audio recorder’s naming which already has the scene/shot/take in the clip name. Sync-N-Link X provides that option to create synchronized clips based on the audio file name. Therefore I don’t need to rely on the actual scene data in the scene column. That’s actually slower for me than the way I’ve been doing it. I am now trying to figure out why FCP X is giving me so many results that have nothing to do with the numbers I type into the search field.

I guess part of the equation is having a better understanding of what FCP X is actually searching when something is entered into the search field. However I haven’t had this issue before this version of FCP X..at least I don’t remember having this issue. I generally typed in which scene I wanted (which was in the clip name) and I got back only the clips with that scene number or those plus scenes that may have that number in the clip name. So at least (for instance) I’d get scene 13T01, at most I’d get scenes 13T01, 13AT01, 13BT01, 013T01, and 113T01, etc. and any subsequent takes with a “13” in it.

I hope this makes more sense.

[Tangier Clarke]

It can work if the scene is a the search criteria. Then I would have to either make a smart collection for each scene or modify the smart collection each time I want to change scene numbers. I have a general smart collection for synced and multicam clips. What I would like to do is, while having the synced clips smart playlist selected, be able to type the scene number of the clip which is also the beginning of the clip name, into the search field and only those clips show up.