T. Payton
Forum Replies Created
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Ahh, it is indeed phase cancelation. It plays fine in Stereo, but playing summed Mono, the audio waveform cancels itself out hence you can’t hear him.
Actually a pretty cool feature. You could have “secret audio” for those with stereo speakers. 😉
Easy to fix. Just change the audio on the clip from “stereo” to “dual mono” then deselect one of the channels.
BTW. You might want to use some de noising on that interview. Sometimes the Logic denoising effect will help to. But not too much or he will sound like a robot. Also you could notch the music in the midrange and bring up the highs and lows to make the noise less distracting.
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T. Payton
OneCreative, Albuquerque -
Just to confirm, you mean playing back the 30p material slightly slower at 24p?
If this is the case I don’t think it makes any difference whatsoever. Both do the same thing and neither one really takes any time to process. I think I would use the conform in FCP X personally, just so that if I possibly needed any of the original non-retimed audio I would have it.
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T. Payton
OneCreative, Albuquerque -
Can you post a link to the YouTube file?
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T. Payton
OneCreative, Albuquerque -
“Am I dumb?” Far from the contrary, this seems like a “duh” feature, but it is just not implemented yet.
A couple of workaround suggestions, using SFX as an example:
1. Add a prefix to the clip name. Unfortunately you have to this one at a time in the inspector and add “SFX” in front and then use the timeline index to just show the “SFX” clips.
2. Change the name of all the clips at once and sort. Depending on your workflow this might or might not be a problem. Just select your clips, and in the inspector change their name to “SFX” or whatever. Then use the timeline index to sort. You’ll loose the original name, but you can always find out what it is by adding that metadata field to the inspector.
3. Group all the SFX audio into a compound clip for a final mixdown. With the above options, you can’t have your SFX clips work like an audio mixer channel, but with a compound clip you can. You really don’t want to do this until you have picture lock because it will hose all your clip connections, but it lets you add EQ, etc.
I’ll wager that we are going to see some kind of “grouping” or “styles” type function in an update of FCP X. That way you can add filter and adjustments to a “style”. Then assign clips a “style”. A style would then act as a mixer channel for audio or color grade group.
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T. Payton
OneCreative, Albuquerque -
As odd as it sounds, FCP X renders the effects stack from top to bottom. So the broadcast safe filter is rendered BEFORE the color correction. Because FCP X renders in float, all the information is still there which makes it look like the broadcast safe filter has no effect. Therefore you don’t want to apply this to individual clips.
You’ve got two solutions:
1. Finish your project and then group it in a compound clip, and then apply the broadcast safe filter to the compound clip. Only when you are viewing the timeline that contains the compound clip (not the compound clip timeline) will you see the filter.
This is actually exactly how I worked in FCP 7. Finish and edit, and then I would place it in a new sequence, put in my titles, countdown, etc. and apply the broadcast safe filter.
2. Add broadcast safe filter to an adjustment text layer. Make sure it is on top of your other layers. You might take this further and do a tiny amount of work in motion and create a broadcast safe text filter. Here is a link to the adjustment layer:
3. Color correct manually to a broadcast safe: This is what I try to do and is probably the best practice. Can be used in conjunction with #2 and #1 above.
I think you’ll actually find that the FCPX way of doing this is pretty smart, especially with adjustment layers.
– T.
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T. Payton
OneCreative, Albuquerque -
Sad to say, but if it didn’t make it in FCP X 1.0 it must have been a really really buggy feature (because FCP X 1.0 is littered with bugs.)
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T. Payton
OneCreative, Albuquerque -
My 2 cents:
I wouldn’t throw FCP X Color Matching completely under the bus. I’ve had some fantastic results with similarly lit and images. Sometimes it works really well, other times not exactly what I expected. It is always worth a try.
For what it is worth I have used Apple Color extensively, I also recommend Robbie Carmon’s course on Color at Lynda.com. It will make you comfortable with the program.
However, FCP X really does have some excellent tools that are RGB float based rather than YUV which makes then behave much more like Apple Color rather than the 3-way color correctors in FCP 7. I would recommend Denver Riddles free color grading crash course on FCP X here:
https://www.colorgradingcentral.com/final-cut-pro-x-color-grading-table-of-contents
I too pulled in some of your images and I was able to get something I would consider pleasing color very quickly. However, I wouldn’t suggest FCP X as an intermediate step in your workflow. If you’re going all the way FCP X then it would be a good tool. Stick with FCP 7 and get pleasing color. Then after picture lock then bring it into Color or other solution.
– T.
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T. Payton
OneCreative, Albuquerque -
Regarding the audio mixer, the components for it are actually present in the FCP X package now. I am guessing these were actually implemented but somehow were removed for the 1.0 release. Check out these file names for graphics (you can see them yourself, just right click on the FCP X app, and then choose “Show Package Contents” and then look in the resources folder.)
Amazing that they left this that in there. Of course it is equally amazing they released the software without the audio mixing function.
AudioMixer__Meter_Gradient_GreenYellow.psd
AudioMixer_MeterLabels.psd
AudioMixer_MeterWell.psd
SoundtrackPro_MixerChannelStrip_Meter_Gradient_GreenYellow_HUD.psd
SoundtrackPro_MixerChannelStrip_Meter_Gradient_GreenYellow.psd
SoundtrackPro_MixerChannelStrip_Meter_Gradient_Red_HUD.psd
SoundtrackPro_MixerChannelStrip_Meter_Gradient_Red.psd
SoundtrackPro_MixerChannelStrip_Meter_LabelsAndTickMarks_HUD.psd
SoundtrackPro_MixerChannelStrip_Meter_LabelsAndTickMarks.psd
SoundtrackPro_MixerChannelStrip_Meter_Well.psd
SoundtrackPro_TrackHeader_Meter_Gradient_GreenYellow.psd
SoundtrackPro_TrackHeader_Meter_Gradient_Red.psd
SoundtrackPro_TrackHeader_Meter_Well.psd
SoundtrackPro_W_MeterLCD_HUD.psd
PAA_dBIndicators_Mixer.psd
PAA_FaderBtn_Mixer.psd
MasterMeter_BackgroundGradient.psd——
T. Payton
OneCreative, Albuquerque -
Unfortunately those controls are not publishable at the moment. It was one of the first things I tried too.
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T. Payton
OneCreative, Albuquerque -
A couple of ideas:
Idea 1 – When you add an audio clip from the audio window to your timeline it will automatically be added to the event. You could then delete it from the timeline and then create in and out points in the event browser. (Yes I know it is clukly, but Apple didn’t consult me when they creating the App)
Idea 2- To get a clip to start at the beginning of your timeline just drag it near the beginning. Select the clip, then type “- 1…” and it will move it 1 hour back in time which will land at the beginning of the sequence.
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T. Payton
OneCreative, Albuquerque