T. Payton
Forum Replies Created
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Evan,
Sounds like a fun project. A couple of thoughts:
– Test the USB 3.0 drive before you commit to it. USB by its very design is not in the same class as firewire or thunderbolt. It is more taxing not the processor and access speed can be slower.
– I would definatley try to stay native, and FCP X should have no problem doing that. You need to bring in your AVCHD via “Import from Camera”, FCP X should take care of the “wrapping” for you. You’ll probably plug in via USB depending on your camera.
– from my small experience with it, the new MacBookPro with Retina should have no problem with 3 streams of h264.
– Alternative codecs. I would test bringing in all our native footage and then making proxy versions of your footage overnight. Proxy is actually decent quality, but quarter res. So for 1080p material it is 960×540 which looks perfectly fine on a SD DVD and is passable with a 720 uprez.My 2 cents.
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T. Payton
OneCreative, Albuquerque -
Nathan,
I totally hear you. I’ve been in the same boat. What I do is create an smart collection for audio with the role of dialog. Then put the browser in list view and sort by “content created”. You’ll know exactly the order you recorded your takes regardless of the naming.
After a few takes I’ll select those and apply a new name in the inspector, then I’ve setup a custom naming setting for “current name plus increment” and it will put a take number on the clips.
With all that said, most of the time I’m recording right in a timeline and I just rename the clip there and I’m not terribly concerned with the name it has in the event browser. 😉
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T. Payton
OneCreative, Albuquerque -
[Bill Davis] “Auratone cube speakers on the recording console bridge”
That is just what I have in my studio! In fact when I mix audio, I get it sounding good on my JBLs and the Auratones and then I put a copy on my iPhone and listen to it with my $9 Target earbuds. Only when I listen to it on my earbuds and then subsequently in my car does it really sound “real” to me. It is an interesting phenomenon because I “know” how those little earbud react and what a good mix sounds like on those car speakers.
It is interesting that a majority of the time I spend in my studio I am listening to my own mixes and photos, but not the mixes or shooting of others, and frankly it shouldn’t be that way. I think it is critical to choose a monitoring satiation whether it be audio or video that you know how it will respond because you are used to hearing or looking at good mixed or graded material on it.
I had a friend at a recording studio who ever time I visited him was listening to well mixed songs. When he had to setup and fiddle with equipment he would be listening. Then when he was actually working, his ears were well trained to know what he was aiming for.
Something I used to do years ago when I did a lot of broadcast spots is record several breaks from the show that our spot was going to be running on. Then I would edit in our spot in the break, make a VHS of it and bring it to my conference room TV and home TV. Then I would sit and watch a bit of the show with the other spots in context and get a bit “lost” in the show and then all of the sudden I would see one of my spots. Sometimes my spot would look horrible other times I would be delighted it fit in so well.
Also, don’t discount the benefit of having another large LCD TV in your studio so you push back from your editing chair and experience your edit like your viewers will.
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T. Payton
OneCreative, Albuquerque -
[Shea A.J. Comfort] “in your example above since colour and crop are full squares, does that mean that both selected clips in the time line have these on?”
Yes.
[Shea A.J. Comfort] “Which clip(s) are creating the half-filled square for the transform parameter?”
The ones that are selected in the timeline (yellow outlines.)
[Shea A.J. Comfort] “IOW, how would I use the information given by the half-filled transform parameter square?”
It is a pretty standard way of indicating selected items have different attributes. Just depends on your situation on when and how you would use it.
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T. Payton
OneCreative, Albuquerque -
That has bug written all over it.
Did you report it?
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T. Payton
OneCreative, Albuquerque -
I’m having the same issue also. Both with waveforms and with filmstrips. For now I’m just telling my staff to restart FCP X. That seems to resolve it for a while at least.
Be sure to repot it in FCP X feedback. I reported some redrawing bugs this past spring and I was pleasantly surprised to see them resolved in 10.0.5. They really do read and log all those items.
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T. Payton
OneCreative, Albuquerque -
I would think about creating a separate timeline and exporting the credits as a ProRes QT and bringing that back in. It will use the GPU (as long as you don’t use compressor) and might speed things up.
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T. Payton
OneCreative, Albuquerque -
James – I’m trying to follow you and attempted some tests but I’m not understanding completely what you are trying to do. Can you post a few screen shots showing what is happening?
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T. Payton
OneCreative, Albuquerque -
HI Shea –
The half filled box typically means that you have multiple items selected and one ore more of them have a parameter or effect enabled while others don’t.
It’s unbelievable useful and often overlooked that you can make parameter changes to multiple items at once in FCP X.
Here is an example:
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T. Payton
OneCreative, Albuquerque -
I had the same thing, just grab a third party mask. Alex4d has a bunch of them.
https://alex4d.wordpress.com/fcpx/
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T. Payton
OneCreative, Albuquerque
