T. Payton
Forum Replies Created
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In my workflow if I have a different delivery requirement than what I created my timeline, I simply create a compound clip and place that in the format/resolution of my delivery specs.
For example I edited a spot which was made up of combination of SD PAL anamorphic footage, 720p animations and a few 1080p shots. It was very heavy in compositing as I challenged myself to see if I could pull off a decent amount of motion graphics and even repair work just in FCP X. I went ahead and edited the spot in a SD Anamorphic timeline. Then I create a compound clip and then placed that in my delivery format 1080i, 29.97. FCP X uprezed the SD PAL anamorphic footage surprisingly well, did a respectable frame rate conversion to 1080i, and kept the 1080p shots looking pristine in the 1080i timeline. Frankly, the workflow was so simple it was a bit concerned. To my amazement FCP X did a tremendous job.
Of course you can change the resolution of an already edited timeline but run the risk of something going wrong with compositing, keyframing, or any reframing. I’ve seen it work several times, but a few others times it has been problematic.
I would try it both ways and see what gives you the best results for your workflow.
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T. Payton
OneCreative, Albuquerque -
FCP X proxy workflow works incredibly well as the proxy workflow is part of the core of FCP X. I don’t know of anything else that matches its functionality.
One reason not to transcode in another app is that you have a great chance of loosing the metadata when transcoding. Letting FCPX create the proxies ensures that all the metadata is available. Also switching from proxy to original media in FCP X takes just a moment, in case you want to check the detail in a 4K clip, or export a section in 4K. Reliking on the other hand can take a bit of time.
Keeping everything in FCP X also allows you to create 4K optimized media, incase you want to just edit in 4K.
The only issue I have every had with proxy mode in FCP X is that clips that contain an alpha (ProRes 4444 or animation code) didn’t retain the alpha in proxy. But I have not tried that in 10.0.6 or later.
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T. Payton
OneCreative, Albuquerque -
The monitoring angle isn’t for editing, it is for working in the angel editor. See here:
https://help.apple.com/finalcutpro/mac/10.0.6/#ver23c76b1a
However, changing the monitoring angle in the angle editor will only effect new or unedited instances of the multiclip.
If you want to switch angels use the info pain of the inspector (set it to general) or right click on a clip and change the active audio or active video angle.
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T. Payton
OneCreative, Albuquerque -
[David C. Scott] “The Matrox Monitor Calibration Utility is too sophisticated for the Samsung model I have. Does anyone have a monitor they endorse?”
How so? I find it works really well. I have a el cheapo Best Buy “Insignia” LCD for my client monitor. The calibration got very close to what I am seeing on my 13 Sony Broadcast CRT.
BTW. I’m still on the fence on BlackMagic or Matrox adapter. Gonna wait and see if anything new develops at NAB.
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T. Payton
OneCreative, Albuquerque -
We do this all the time. In photoshop create and image with some decent sized color swatches using PMS colors. Make sure you work in RGB. Import that image into fcp x and then use a color picker to sample the colors. Then drag into the sampled colors to the “well” at the bottom of the apple color picker. Then just use those patches in the well as needed.
If you happen to see a color shift when you import into fcpx then just sample the colors from the photoshop window instead.
Does that make sense?
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T. Payton
OneCreative, Albuquerque -
The problem you are having is not at all typical. I’ve had many dozen Macs since 1984 and only 4 times have I had serious hardware with an Apple supplied part beyond a failed hard drive.
You have a bunch of possibilities for the smoking gun. GPU, Ram, motherboard, hard drive, OS. But unless you have a desire to bang your head against the wall, bring the machine into an Apple store and show them the issue with FCPX failing to launch. They will diagnosis it for no charge, although it will more than likely take at least 24 hours. For a 2008 machine I believe they have a flat rate repair, but I don’t know in your case.
I can totally understand why FCPX would show a problem on your system where FCP7 does not. FCPX uses the hardware in ways that FCP7 just doesn’t do. GPU, filling all CPU cores, etc.
Also, according to the Final Cut Pro X requirements page, https://www.apple.com/finalcutpro/specs/ 2 GB of ram is the minimum. And I was running FCPX on a 2007 MacBook Pro with just 4gb of ram for over a year.
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T. Payton
OneCreative, Albuquerque -
Harry,
It is just a configuration issue. Double check what you are seeing in the timeline. The monitoring angle will only effect future edits.
If you are under deadline and can’t figure it out feel free to call me. Look up my company website, onecreative.net and call them number there.
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T. Payton
OneCreative, Albuquerque -
[Jeremy Garchow] “I keep reading todo as toto:”
I think that is pretty appropriate. Back in the days when music vidoes were stories rather than just a multicam & CG extravaganza, Toto had a completely unnecessary shot (see below). Perhaps if the editor had the ability to make a todo marker on the fly, with the keyboard during editing, then they could avoided that embarrassing shot.
Gotta love those mullets. Or the keyboard player with sweat bands. 😉
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T. Payton
OneCreative, Albuquerque -
There are two benefits I have found.
One is using a “keyboard only” method to create a marker, name it and change it to a todo.
The second is making adding these during playback to “take notes.” During playback, as you notice an issue with your project, hit option-M type your note, hit tab, then return and you’re back to your timeline. You could also control-space bar instead of return to get right back to playback.
Anything that keeps my hands off the mouse keeps me moving faster is a good find.
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T. Payton
OneCreative, Albuquerque -
Nick,
I’m not entirely sure exactly what you are asking but let me address a few things.
[nick ring] “What is the best route to take for exporting the audio?”
You might not have to. See below.
[nick ring] “The audio has some significant problems. Lav audio was recorded way to low and there is a high digital-sounding noise floor. I’m not a fan of Apple’s noise reduction and would like to export the audio for external processing and sync it back up. This approach requires the edit to be locked, which is fine”
Actually you don’t need to lock the edit, and you can still sync it back up.
For noise reduction like this I have edited the entire audio clip length, done the fix in my DAW, and then brought back the fixed audio and added it as a new angle in the multiclip. That way the edit doesn’t need to be locked. You’ll need to switch to the new audio angle, but use the timeline index and view active angles. Unfortunately you can’t filter by active angles, but you can select all clips at once with command click and then you can make a change to all in the inspector at once.
As an aside, I have found the logic plugins pretty decent in FCP X. So many times I’ll add some filters, etc to the audio in the angle editor and that often does the job. Of course some AU noise reduction plugins don’t work in FCP X, so of course doing something external would be the only option.
[nick ring] “There are no fade handles in component editing, only expanded (why?),”
Couldn’t tell you why Apple made that decision, but you can manually add them with option clicking to create keyframes. Then you can copy and paste that fadein to other components with the Paste Atrributes > Volume.
[nick ring] “As I understand it, you can’t assign roles to audio components”
Actually you can. Just select a component in the timeline or the angle editor and then use the inspector to set the role.
Since you didn’t state your familiarity with FCP X. Let me know if any of this needs further explanation.
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T. Payton
OneCreative, Albuquerque
