I had to cut a Red band trailer into a Green Band this week. Not a big deal, but I had to keep all the mixed audio in sync while I cut. And there was a lot of audio to wrangle.
Audio sources were discrete stereo, and 5.1 DME’s, so 24 channels/files.
Put the 6 L and R Stereo files into 3 Compound Clips, and the 18 5.1 files into another 3. Then put those 6 Compound Clips into a Compound Clip with the picture. Oh, audio was 24fps and pix was 23.98 so I had to slow each audio file down by about 2 frames. So…
My master was an A/V Compound Clip, containing 6 Audio Compound Clips, all of which contained 3-6 retimed audio clips. (Roles all properly set of course) Played fine as you’d expect…
A SIMPLE CUT LIKE THIS…
…WITH ALL THIS ALONG FOR THE RIDE
Edited out the R rated stuff, keeping all the disparate stems in sync, and today exported:
all the cut discrete stems (24),
and the master Video with comped audio in under 5 min. This app rocks. 😀
Just because. 🙂 Possibly useful in visualizing Audio Signal Flow FCP X 10.3.
When it comes to color grading, I pretty much have no clue what I’m doing. I bumble around though, and I stumbled on a neat trick. Forgive me if everyone knows about it… When visually comparing two shots, it’s easy if one shot can be loaded in the source monitor so you can check the two side by side. But when the 2 shots are in a timeline, I’ve always been annoyed by needing to click back and forth between them to see whether they match well. I’m probably doing it wrong, but here’s the little trick, courtesy of our friend the skimmer. 🙂
Select the clip you want to work on and place the playhead on it so it shows in the monitor and scopes. Then, turn on the skimmer and hover over the “source” clip. You now see your “source” in the monitor and scopes. Then, just hit the S key to turn it on and off, making adjustments to your selected clip. It’s a super fast way to ‘A/B’ shots from the same timeline. See the gigantic gif below for a “demo”. Excuse the blur… top secret stuff! lol
Helpful? Common knowledge? Let me know! 🙂
Man, that logo looks crappy on a black BG… too lazy to fix… Oh, Hi! Going to NAB? Want to go to NAB? If you’re there, I’ll be blabbing about FCP X at a little FCP Exchange presentation on Tuesday at 2:30. Stop by and heckle! Bring your FCP X hating friends! Fun!
Here’s the info/registration link. See ya there! 🙂
Oh, hey… Happy New Year and all that! 🙂 Just wanted to say a quick word about maybe the least talked about advantage of FCP X… that being the fact that there is no need to “save” your work. Ever. This was brought to mind by this tweet:
To which I responded:
In all seriousness though… The fact that you never need to “save” in FCP X is an amazing feature. First of all, FCP X is very stable, but like any app it hangs or crashes once in a while. And because I’m not insane, I run backup apps to supplement the built in backups. But only once in the 3 years I’ve been cutting in X have I needed to restore a project. Once. In 3 years of pretty much daily use.
In other NLE’s, a crash is usually a nightmare, you all know the feeling. It sucks. But if X crashes, or hangs or the power goes out… It doesn’t matter. Restart X, pick up right where you left off. I’ve had the power go out right after making a cut, and that cut was there when I got everything back up.
You can debate the merits of FCP X all you want, but never worrying about saving may be, psychologically anyway, the biggest advantage of them all. 🙂
I just had an article posted on the Creative Cow website. It’s basically an updated, and slightly less confusing version of my “Magnetic Timeline” posts. Check it out here. I hope they don’t mind me stealing this picture because, ya know, every post needs a picture right??