[Trevor Asquerthian]

Wow you are quick! Thanks again. I’ll add that to my FR list 😉

Seems a no-brainer that once you’ve compounded clips you’d want them available for re-use.

Is there any other form of nesting or subsequence? I guess creating a compound clip and then copy/paste is the workaround…

With the range selections, I’ve RTFM and can make the selection with the cursor or use X to mark the whole connected clip, but I and O default back to marking the primary storyline despite what it says in the fine manual.

And if you’ve any questions about obscure linear editors I’ll be there to answer them for you… 😉

[Trevor Asquerthian]

Thanks Tom, you nailed them all, although range selection seems a bit clunky for marking points.

Additional Q:

Any way of adding a compound clip to the event browser for reuse?

[Trevor Asquerthian]

[Bill Davis] “Those guys at ABC Sports aren’t pissed off. And cutting “billions of dollars on the line” replays for hundreds of millions of eyeballs is as pro as it gets.”

Which guys? Is there a link? Thanks

[Trevor Asquerthian]

Would the audition feature have the potential to be used for ‘multitrack’ editing? (does audition work for audio?)….

This is a rough example of a multitrack layout I edit with… tracks 1&2 are master audio – all other tracks have clip level set right down but will pass on to audio mix session, in sync with the pictures, in the event something needs remixing.

0. came from line cut 1. from iso1 etc.

Would FCPx be able to emulate that at all in the current form? (e.g. the Avid tracks 3-16 are ‘audition’ tracks behind 1&2. Hopefully the ‘audition’ clip would be able to switch to any mono or stereo clip *and* be duplicated to allow multiple tracks to replace 1&2.

[Trevor Asquerthian]

” for me the big showstopper is that it can’t record DNxHD in a simple Quicktime wrapper.”

Seems a little harsh… they implemented DNxHD primarily for Avid users. It’s Avid’s codec and they can limit it as they see fit.

They have uncompressed which can be recompressed for other workflows… and they seem to have a.n.other codec coming down the line.

Anyone purchasing at the moment is contributing to R&D so thanks for that from the rest of us.

Interesting that the Ki-Pro also is ‘unfinished’… there’s quite a bit of competition in this market and no clear winner yet.

[Trevor Asquerthian]

Presumably you could download the trial version of Avid Media Composer and make QT refs with BM DNX media… good for 30 days

vlc might play it too

[Trevor Asquerthian]

I couldn’t find a consolidate command but you can ‘export as – movies’ and choose not to recompress but to make self-contained your sub clips and it will make copies of just the good stuff… enabling you to delete (or archive) the full rips.

Test before you delete anything though!

[Trevor Asquerthian]

[Bob Zelin] “My wife said that when he didn’t insult me after my smart ass comments, that made him “win”.”

A whole side to Bob is revealed that we never knew about…

[Trevor Asquerthian]

Thanks for the help.

Dirk from Boris posted a very useful reply on the Avid forums in case anyone is interested…

[Trevor Asquerthian]

Well the beauty of the insert edit would be the ability to fix a typo / drop-out without laying the whole show off.

Blackmagic should be able to give you an answer as to whether the HyperDeck RS422 is supposed to control a VTR, or be controlled like a VTR (or hopefully be able to swing both ways).

Workaround would be to crash record and modify the timecode of the QT the HyperDeck makes to match your desired start.

Otherwise you would need to get timecode out of FCP7 into the HyperDeck. FCP7 does not support RP188 (TC over SDI), nor is it likely to in the future.

You could output LTC from an audio track and feed it into something like this to insert it on the RP188. Very cumbersome workaround though.

I’m with you on real-time outputs versus rendering to file. Bonus is you get to watch it through as you make the master.