[T. Payton]

Humm… try putting a marker at the same timecode for both the audio and the video.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

Are you saying that the media files you use in Premier can’t be imported into FCP X? Are those files playable in Quicktime X?

Premier can play several formats that FCP X can’t. Thusly you might need to transcode.

If you just need to export your complete show, you might try a different codec. Perhaps something is becoming corrupted with the ProRes files. Try PhotoJPEG, or even uncompressed.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

That is actually reference to a feature in Premier. It just means to place a sequence into another sequence. Same thing (mostly) as Compound Clips in FCP.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

[Oliver Peters] “The precision editor isn’t even on the same planet.”

I completely agree with you. I’m sorry if my point wasn’t clear. I should have made it clear I was talking about potential. If Apple put some time and effort into PE then it has the potential to do everything the Avid trim tool does. Unfortunately it is far from what it could be.

However, the PE can some of the things that the Avid trim tool does well such as adjust a single or double roller trim during playback with the keyboard while viewing the ‘unseen” portion of the A or B clip. But it takes multiple mouse clicks and keyboard shortcuts to set it up, and then the viewer is only 1 up and in the end it is hardly worth it. Of course unlike Avid, single roller or double roller trims can only be performed on one edit point at a time, whether in the PE or the timeline.

The other issue is responsiveness. Apple needs to get rid of the start or stop playback delay.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

The PE has phenomenal potential as looks like it could match feature by feature the much lauded trim tool in Avid MC. However, it is just too limited in its current incarnation.

I have found several uses for it, mainly to adjust transitions edit points and match action on an edit. Actually it is excellent for matching action, especially using use the keyboard to JKL and shift-X to move the edit point.

Part of it’s shortcoming is that the regular tools in FCP X trim pretty well without the PE.

If Apple would give it a little TLC and make it work beyond just the video on the primary storyline, give it better keyboard controls and a persistent 2 up, 3 up or even 4 up display. I think it could prove to be a valuable and powerful tool.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

Hours of rendering? Share monitor? That doesn’t sound good. What version of FCP X are you on? Version 10.0.6 and after uses the CPU & GPU to render and it is much faster. Also, the share monitor was dropped in 10.0.6 and is only used for Compressor. Try exporting without compressor if you are on an older version of FCP X. Plus there is no need to render before exporting.

Although 10.0.4 and 10.0.5 are pretty stable (I made projects much more complicated that what you are describing) unless you are dependent on some third party plugins that have trouble with the latest version of FCP X, update to 10.0.7.

Also you might have a problem with the drive that your event/project lives. Try sharing to a different drive, it might make a difference.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

Back to OP. Here is my take on the Magnetic Timeline. In shot, I like it alot. This is the long version,

I’ve been watching some tutorials on lynda.com for Narrative and Documentary editing, for Avid MC, FCP X and Premier Pro. (Before I go on, I must say that Ashley Kennedy Media Composer’s tutorials on lynda.com are fantastic. Her take on preplanning for a documentary has saved me countless hours in my last few projects. I highly recommend them.)

From watching these tutorials for all thee NLEs, it is clear that Media Composer is a VERY powerful tool, and the big dog of the bunch, and Premier Pro is a capable “second generation” NLE, but FCP X is a revolutionary “third generation” editor.

Apple seems to have rethought every aspect of the editing process. It is staggering to see how many editing steps have been eliminated by the magnetic timeline and connect clips. Setting up track patching is FCP X unnecessary. Basic trimming is greatly simplified in FCP X and doesn’t require the explanation that it does in track based editing. The filmstrip in FCP X allows you to view all your visual footage in a fraction of what it takes to scrub through. These are just a few. As a designer myself, FCP X is awe inspiring in its ability to remove complexity in editing.

As a personal example, at my shop I trained an assistant on FCP X this past summer. She had never touched a NLE before and she was literally up and running with organizing, making favorites, editing a timeline, trimming and adding stills with just 20 minutes of instruction from me. (I have tried this with FCP 7 in years past, and that same instruction took several hours with lots of memorization) Now months later she is becoming a capable editor and I was talking with her about the benefits of FCP X, because she doesn’t know anything but FCP X. So I opened up FCP 7 and Premier Pro and showed her around the interface a bit. I showed her the patch panel in the timeline and she said “Do people STILL use software like this? That is very complicated.” I asked her to try to figure out how perform and edit to add an audio clip below V1. After a bit of tinkering she gave up. Frankly, I couldn’t even figure it PP either 😉

Now I completely understand a seasoned editor having an issue with the FCP X and the magnetic timeline. We become accustomed to the way we work, and if you’ve worked in Media Composer for years then FCP X is bizzar confusing mess. However, to say that it is only good for “skater youtube videos” is an insult made out of ignorance. Every type of edit I have had in the past year and a half has shown that FCP X is a tool capable of nearly any time of project.

I for one am inspired by the innovation of others. Just as other artists and editors work push me to be better, FCP X inspires me to work better and more efficiently. FCP X is treading new ground in terms of editing and I don’t think all of the conventions are completely worked out. (Audio mixing isn’t there yet, some editing tasks require too many steps, collaboration is non existent.) Perhaps Apple won’t be the ones who figure out the best way to accomplish certain tasks in editing in a “third generation” NLE, but they have started the ball rolling and frankly I’m enjoying the ride.

Sincerely,

An unashamed fan of the innovation at Apple and Final Cut Pro team.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

It will use the proxy files to export. This actually can be useful because it will share a lowres proof very quickly.

If you like me and would like some kind of warning that is happening, submit a Enhancement Request at:

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

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

Try this, I just tested it and it works great.

1. Select single clip and create multicam clip.
2. Open in angle editor and make sure that the audio for the clip in the first angle is set to 4 mono. Label the audio components.
3. Label first angle, and in the info channel configuration enable your first channel.
3. Click on angle menu and choose add track
4. Option drag a new copy of the clip to the new angle. Label Angle. Change channel config to second channel.
5. Repeat adding for all channels of audio.

You are duplicating the video angles, but not really since it is just a reference to a parent clip. Now when creating your multicam edit just choose to switch audio angels and enjoy.

——
T. Payton
OneCreative, Albuquerque

[T. Payton]

James,

So is everything good? You go the show out? Did you end up rendering the whole thing or just export?

——
T. Payton
OneCreative, Albuquerque