T. Payton
Forum Replies Created
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What exactly is the trouble you are having? How to use FCP X or how to get your audio to comply with the requested specs?
Looks like that LoudMax plugin works pretty well (a good find). However, for what you need a compressor should give better results in limiting your dynamic range. The compressor built into FCP X works very well (it is from logic), and has a built in brick wall limiter.
If you are new to FCP X I would highly recommend some training. Ripple training or Larry Jordan training is excellent. FCP X is a reinvention of editing and many of us folks who are used to “Second Generation” NLEs have a hard time getting our minds out it.
However know that FCP X has no problem complying to those requirements. There are plenty of us folks who are using FCP X for broadcast and complying to specs without a problem.
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T. Payton
OneCreative, Albuquerque -
I created a green PSD file then just grabbed your footage and dragged in into FCP X, AE CS6 and FCP 7. FCP X identified the file as premultiplied so I didn’t do anything. AE required me to change the interpretation to premultiply. FCP 7 I changed the Alpha Settings to “black”.
So here are the results (gamma adjusted so the outputs match)
I’m not seeing anything like you described. And it appears that FCP X is the most correct. Correctly interpreting and compositing the Alpha, with an image that matches AE. FCP 7 is darker and looks incorrect. Check out the yellow and green dots especially.
It was odd that your FCP X was interpenetrating the Alpha as straight. Are you on 10.0.7?
Also is this any help?
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T. Payton
OneCreative, Albuquerque -
This is what I do:
1- Create a new event and call it “Color Grades” for example.
2 -Show the Event Viewer (Control-Command-3)
3 – Make a compound clip of the already corrected clip in the timeline, store in the new event. (Option-G)
4 – With the now compound clip still selected show the frame in the event viewer with Shift-F.
5 – Back in the timeline, restore the original reference clip with Break Apart Items (Command-Shift-G)
6 – Move your playhead to the clip you want to color correct by option clicking and it will load it the now timeline viewer and you can color correct.This sounds like a long process but it is actually very fast. For larger projects I find that creating that additional event is very helpful. I store not only my color grades, but also references I like from other movies, stills, etc. I tend to make only a few master grades to match to, rather than matching to every previous shot.
I also like to open up scopes to match both the event and the standard viewer.
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T. Payton
OneCreative, Albuquerque -
Perhaps this will help:
(I’m preparing new tutorials for Creative Cow for this that will go into more detail. But they could take some time to get out.)
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T. Payton
OneCreative, Albuquerque -
I heard about something like this but I can’t quite remember the fix. Any chance you could post a still of that graphic with the alpha. Perhaps just a few frames of the ProRes 4444?
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T. Payton
OneCreative, Albuquerque -
There are a bunch of ways to accomplish this the “gap” is just a generator so it works like any other clip.
Here are some options
– set your in and out points on the timeline and do an overwrite edit. The keyboard shortcut is D, or chose the menu “Edit > Overwrite”.
– Drag and hold your new clip for a moment onto the gap clip then let go and choose Replace from Start or Replace from End to maintain timing.
– Switch to the Position tool “P” and drag a clip directly over the gap clip.——
T. Payton
OneCreative, Albuquerque -
Before you do the backup, in the event folder, try this. For each of these you need to quit and relaunch FCPX.
– Delete the “Render” folder inside the event folder.
– Delete the “Analysis” folder if it exists.
– Also you can try to temporarily move the “Original Media” out of the event.——
T. Payton
OneCreative, Albuquerque -
Jacob,
Thanks for the footage. So it turns out that your video clip had a very low level audio track that was throwing off the sync. The fix is to right click and choose Modify > Analyze & Fix on the video the footage and remove silent channels. Then the sync function will disregard audio and only use the timecode.
Based on this information I was apparently incorrect in assuming that Timecode would trump audio sync. Apparently audio sync trumps the other sync items.
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T. Payton
OneCreative, Albuquerque -
Oh that is indeed a drag.
You might want to grab a trial of Plural Eyes here, but I’m not sure if it obeys timecode. It is worth a shot. I believe it works for 30 days.
https://www.redgiantsoftware.com/products/all/pluraleyes/
Really bizzar that your timecode isn’t syncing. If you can make a short clip I’ll try it on my system. Lookup my company name (below) and give me a shout.
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T. Payton
OneCreative, Albuquerque -
That is odd. According to this page:
https://help.apple.com/finalcutpro/mac/10.0.6/#verc1fabc30
“Final Cut Pro analyzes the clips for sync points such as markers you’ve added, timecode, file creation date, and audio content. If no sync points can be found, the clips are synced at their respective starting points.”
It is my understanding that those are in priority order. Don’t know why multicam sync would work when regular sync didn’t. All I can think of is if you had alot of clips.
In your case however, just sync in MultiCam. Open the angle editor and select all the clips and then paste into a fresh compound clip.
A bit of commentary: Like many of those who shoot DSLR, I do a LOT of syncing (I just did a project with 1000 clips that needed to be synced), and even in Plural Eyes (before FCP X) there were sometimes when a supposedly clean track just wouldn’t sync. In the last year and a half with FCP X I’ve had just one instance where the built in tools didn’t sync correctly, and I had to do that manually in a Compound Clip. However, considering the fact that you can move audio by the subframe it works really well.
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T. Payton
OneCreative, Albuquerque
