[T. Payton]

Actually looks like switching to any main tool, or just pressing any tool keyboard shortcut does it.

🙂

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

[T. Payton] “Unfortunately I don’t believe there is one”

I stand corrected, The A key does it. Thanks Bret.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

Hi Mark,

[Mark Morache] “So when you bring the video into the event with “copy files”, then you end
up with two copies of all the media, right?”

Yes. But in my workflow as of right now. I am trying to standardize it a bit more but this is what I do:

– First all original media, stills, video, audio is copied onto a dedicated Media Archive Drive. I just buy bare drives and use a Esata “Toaster” Dive Dock. I shoot HDV every once and a while and if so I’ll have FCP X create a camera archive on that drive. When I fill up the drive I increment the number and grab another drive.

– On the Media Drive I do a bit of organizing. All media is in a folder with the corresponding job number and then further organized into folders with shooting days such as 130427 and a description. If it is a complicated shoot I will further put those in folders for a scene, or location.

– In FCP, my media drive is a 8TB RAID 5, so on a smaller projects (<100 GB) I will create a sparse disk image and then import my media copying files to the event as well as folders as keyword collections. I store these in a “Final Cut Images” folder, again by job number.

For larger projects I determine if I will be “group editing” and if so, I have a Final Cut Media folder where I copy all the media, again by the job number appended with a “_O” which stands for original media. Then a Sparse Disk image is made for storing the event and project. The event is the job number appended with a “_E” and “_P” indicating that the original media is not held in the event. When importing I of course deselect copy to Event. This way another editor can connect to the RAID via gigabit ethernet, mount the Sparse Disk image and will have access to all the media.

For large projects that don’t need to be shared, I won’t create a sparse disk image, but will copy all media to the event. I won’t append the job numbers with any letters and therefore I know that all media is held in the event.

Furthermore I have some projects live on portable drives, so I just plug in and edit on any machine. I also have a little app called “Folder Watcher” that syncs the Motion Templates folder my main edit station with my other Mac’s as well as external drives.

This workflow ensures that I always have two copies of all my media, without it I wouldn’t have a backup at all, plus I don’t even need to think about where my media is stored as Final Cut handles it all. In the case of a larger project that needs to be shared among editors, it takes an extra step to copy the new folder of media from my Media Archive to my RAID, but since everything is marked by date it is a simple matter.

The larger projects I just don’t move them. If I need to edit I use LogMeIn Pro, which lets me edit remotely with decent picture quality and sound. Otherwise, I have 3 Macs that I edit on and moving around projects is a breeze. Editing in FCP legacy for so long, I constantly lost files. And as you know the media manager barely worked.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

I actually use this very same workflow quite often. FCPX actually handles it better than anything else I have used in the past (FCP legacy, Premier).

Unless I am doing “group editing” on a project with multiple editors, I always choose for files to be copied to the event in preferences. I also occasionally choose File > Organize Event Files… to ensure that all my files are indeed held in the event.

Then if I need to move the project to another drive it is just a simple matter of moving the folder to another drive. You will never have any unlinked clips because they will always live in they event folder.

Does this make sense?

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

FCPX works in floating-point, so there would be no generation loss with multiple scaling operations on single clip.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

Unfortunately I don’t believe there is one. However, since the transform, crop and distort controls are in fact mouse driven, it sorta makes sense that you would need the mouse to click done.

However, I would encourage you to fill out a feedback enhancement request. As many folks have attested to on this forum, the Final Cut Team reads each and every one of those.

https://www.apple.com/feedback/finalcutpro.html

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

I just found that 60fps footage doesn’t switch on the Matrox. Looks like it is playing back at 29.97.

Humm. Perhaps it is because the Matrox has a 1080i (interlaced) settings while the Blackmagic does not. Maybe the Matrox, or FCP rather, is introducing a pulldown to play 24p properly.

(BTW. 29.97 is far less nauseating than 60fps. This is actually a pretty nice feature as you can see how bad 60fps looks on the FCP viewer and how nice it looks to be converted to 29.97 on the A/V out monitor. As you can see I’m not opinionated or anything about high frame rates).

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

A bit more info if you are interested. Quality of both are excellent. However,

The BlackMagic Mini Monitor requires the frame rate to be set in the System Prefs exactly. Otherwise stuttering will occur. Changing the frame rate requires are restart of FCP.

The Matrox MX02 via thunderbolt on the other hand switches frame rates (not resolutions) apparently on the fly. I was able to set it to 1080 29.97i (the default) and it plays back all frame rates I threw at it without a problem.

Learning toward the Matrox.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

[Jeff Kirkland] “Coming from a world where every card gets archived into multiple places before I get anywhere near FCPX, having to copy the files to the HD first doesn’t seem much of a hardship if it fixes the issue.”

Great point. In light of that I wonder if creating a camera archive first might solve it or give you a safety net.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

Ooops forgot Step 2a.

1. Switch to position tool with P
2. Move to the beginning of the clip you want to slide with up and down arrows or ; or ‘
2a. Select the clip by pressing C
3. For this example Nudge your clip left with < or > add Shift to make it 10 frames at once. A gap will be left after your clip.
4. Move your playhead to the right side of the gap clip.
5. Select both sides of that edit point with the backslash key (above the return key)
6. Move your playhead to the right side of the clip you slid.
7. Press Shift X to extend your edit.

——
T. Payton
OneCreative, Albuquerque