[Tom Wolsky]

“Additionally making a single clip a storyline doesn’t change the behavior at other points in time added subsequently. You still have to select them to join them into a single secondary storyline.”

Not so. If you select the secondary storyline you can insert into the secondary. You can continue adding to it just like the primary. If you want to leave a gap in the secondary you just add a gap clip to it. It’s transparent and shows the primary, and you can overwrite it at any time. If you want there is nothing to stop you from making a continuous secondary. It’s really a very efficient way to work for B roll laid over a bed.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

Once you connect a clip, you can make it a storyline. You can select the storyline and insert, overwrite, or append to the secondary storyline.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

No there isn’t. The application is designed to keep everything contiguous and not to generate gaps. If you want to make a make you can use the insert gap clip function and make the gap clip whatever duration you want.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

Try using list view rather that filmstrip view.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

I would say that clearly it’s not the best choice for what you’re doing just from reading this thread and what you have to go through.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

“many professional people are shooting with DSLRs including several feature films, television shows, and commercials. ”

Indeed when the camera is festooned with matte boxes and add-ons and dual audio recording monitored through a mixer with the camera a lens with a sensor.

This is a not an appropriate camera for many uses.

I never said they weren’t professional. I just said that any professional looking for a video camera would exclude these because of the functionality they lack. The functionality can be added on, but then the cameras are not useful for operations other than controlled productions like narrative fiction, commercials, episodic television and such.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

No, you can’t sync to a compound clip.

The feature is designed to work for single clips with dual system sound. Perhaps you can break up your audio into separate clips, or combine each clip separately with the single piece of audio, trimming off the access. There is nothing that prevents you from using the same piece of audio to sync to multiple clips.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

DSLRs are incredibly popular and have been wonderfully marketed and produce great images, unfortunately they suck as video cameras. If you want to shoot video, you really should shoot with a video camera. There are great video cameras out there that don’t have the problems of DSLRs, basic features that in a video camera would simply preclude a professional from considering them. The power of marketing is truly remarkable.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

Who can equally manually match waveforms in FCPX just as you can in FCP7. What you’re really missing is that you’re not using cameras suited to shooting video or for the production you’re doing.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

No real way to do this like FCP7, but there are workarounds. Select the clip. Use Shift-Cmd-Up arrow to lift it out of the storyline. Adjust the speed as you like, then trim the shot as needed. Use Shift-Cmd-Down arrow to overwrite back into the storyline.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press