T. Payton
Forum Replies Created
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Yes, Ripple Training is online. They have a number of titles but here is a good one:
There is also excellent training from Larry Jordan. Here is the basics:
https://www.larryjordan.biz/app_bin/Store/catalog/product_info.php?cPath=64_86&products_id=261
If you are a book person (I am) this is also excellent:
https://www.peachpit.com/store/product.aspx?isbn=0321774671
Your other option which I would highly recommend is to simply read the FCP X PDF manual. Although it is hundreds of pages it doesn’t take that long to go through and would be well worth your time.
https://support.apple.com/manuals/#professionalsoftware
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T. Payton
OneCreative, Albuquerque -
Jenni,
Mr. Payton is my father. You can me Mr. T. 😉
You want to change your import preferences to have “Copy to Final Cut Event” unchecked. That will do it.
Since you are new I would highly recommend getting some FCP X training. Ripple Training does a great job and is inexpensive. You’ll be glad you did.
– T.
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T. Payton
OneCreative, Albuquerque -
Roger,
Just a quick note to let you know that I think Lock & Load X is the best implementation of a FCP X Plugin I have seen, perhaps only second to the built in Key. The on screen controls are fantastic. The only thing missing is some ability to batch, and use the original footage instead of proxy.
Keep up the great work.
– T.
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T. Payton
OneCreative, Albuquerque -
Sure or you can call me. Go to my company name below with .net.
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T. Payton
OneCreative, Albuquerque -
Compound clips are powerful things, and just like compound interest they can work for or against you. 😉
Interesting workflow. I hadn’t thought of that.
My advice to you would be to not mark favorites in the event browser after you do your switching, rather duplicate your project after your switching and then edit down in that timeline. Will work really well.
-T.
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T. Payton
OneCreative, Albuquerque -
I feel your pain. Quick question for clarification. Are you:
A) performing your final edit in a compound clip in an event (aka fcp7 like sequence)?
or
B) placing the multi-cam clip in a compound clip and then using that compound clip as an editing source?If you are A, then you might try editing in a project rather than a compound clip.
If you are B, then what is the benefit to that? (I’m sincerely curious)Whether A or B, here are a few rules of thumb I put together for a tutorial (which I haven’t finished yet) regarding compound clips:
1. DO use compound clips for organization in your timeline (audio buses, compositing, precisely timed elements, etc)
2. DO NOT use compound clips as an editing source. Well that is almost impossible, but if you must use them as a source for editing realize that all metadata (favorites, markers, notes, etc) from the original compound clip will reside in each clip instance in your timeline. Therefore keep your metadata to a minimum, or break apart the compound clip in your timeline one time to remove this metadata. (Better yet put them in a multicam clip)
3. It is best to use multicam clips for editing sources because they are a “master clip” as there a true parent-child relationship between them. Also all the metadata isn’t copied to a timeline for each instance, they simply refer to the “parent” master clip. There are some drawbacks to editing this way, but the positives far outweighs them in my book.
4. Every time you blade a compound clip, the timeline is making a duplicate of everything in that compound clip. If you blade a compound clip that has 10 elements, say 30 times. You now have 300 elements in your timeline, even though you only see 10.
At our shop we do very long interviews (average 30 minutes) with double system sound. Our workflow is to first create a synchronized clip (typically of several DSLR video clips to one long audio clip.) Then place that in a multicam clip and use that multicam clip as a “master” clip for the interview. We will favorite it, add notes, etc. and edit it into a timeline. The workflow works wonders for us, plus we have the added benefit of being able to color correct or do audio cleanup to just one “master” and have it reflect in all our edits.
I hope this helps.
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T. Payton
OneCreative, Albuquerque -
Here are the steps:
1. name and organize you shot and take clips as you like. (useing the metadata is easy, but you can name your clips with that info if you like)
2. Mark each take as a favorite. You may have multiple favorites per clip.
3. In the event browser choose show “Favorites” or hit control-f
4. Now all your favorites are actually individual takes. Select all clips in shot and create an audition for each scene/shot.
5. Assemble your scene by shot number in the timeline
6. You now have an assembled scene and you can switch between takes via auditions.Does that make sense?
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T. Payton
OneCreative, Albuquerque -
Yes that is correct. FCP X’s viewer will always correct a 720×480 frame size (which is not square pixels) to display as 640×480 (which is square pixels). Internally FCP X is working at 720×480 but just displaying at 640×480. The export will of course be 720×480 if you do a Share > Export Media.
If your client wants 720×480 that is what they are asking for.
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T. Payton
OneCreative, Albuquerque -
Michael,
By the way, you’re best bet is to post in the FCP X Techniques forum rather than this one. This is the forum where people vent their frustrations with FCP X and the world in general. 😉
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T. Payton
OneCreative, Albuquerque -
Hi Michael,
FCP X is always going to show the corrected aspect ratio in the viewer. i.e. a 720×480 timeline or clip will “show” 640×480 (4×3) or 853×480 (16×9) in the viewer. If you choose Share > Export Media then it will export a 720×480 movie. If you open that movie in QuickTime Player you will notice that it is 720×480 but will in fact display 640×480 or 853×480 because of the aspect ration correction.
Is this making sense?
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T. Payton
OneCreative, Albuquerque