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    #11
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    I'd be curious to see this explained in greater detail, NorBro. As mentioned I use FCPX for most of my work, and use cross dissolves pretty regularly. Even if I've figured out a workaround I'm always keen to see different (possibly better) ways of doing things.


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    #12
    Senior Member Peter C.'s Avatar
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    Same here I always like to keep my mind open to new approaches. I have recently downloaded Motion templates to be used as adjustment layers


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    #13
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    I'll have to do some more experimenting with them and try to think of a way to best explain it. Because creating a good one in Motion that you can adjust in FCP is the key.

    But in general, Motion is the engine behind FCP. Everything that's in FCP is from Motion.

    ___

    In the meantime, you can also key frame an opacity change in FCP from the beginning of a clip (0%) to like 15 frames or 25 frames (100%), and copy and paste that "effect" into any clips on top of the primary. It wouldn't be a true cross dissolve as it would only be 50% of one but no one would ever notice and that is a blazing fast method. You can add dozens of these in seconds.

    But I don't know why anyone wouldn't want to overwrite the clips into the primary which is what the position tool can do and it's essentially the same thing your recommended shortcuts do but the position tool has more hands-on control (like you can choose things and delete them and then close the "gap" in the compound clip by dragging the sides).

    If everything is in the main timeline, cross dissolves work really well. (You can still have multiple tracks on top of the primary if you're editing that way if it's not a traditional multicam edit.)


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    #14
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    Sorry, never mind...you can't do proper cross dissolves with the titles. You can fake other transitions though, or just make a real one in the FC Transition project area (but that wouldn't solve the compound clip issue).

    So we can lift clips, shift delete clips, and trim gaps, and that's pretty much the only workarounds I am seeing besides the obvious of overwriting stuff into the primary.

    Although I never saw this as a problem because I don't use transitions that force clips to be grouped, I could see how this probably seems like a bug to other people coming from software that handles it differently.


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    Quote Originally Posted by Peter C. View Post
    Not sure what the best approach to music timed videos. I get the feeling revisions to these type of projects is tricky.
    Maybe I'm misunderstanding your issue - or not following completely... but having said that - this is something I do in FCPX all the time...
    put music on audio track - not on the story line and lock the audio track. Add clips to the story line (I think it's helpful to see waveform in the audio file - to help with edits on the "beat"). You can also hold down the "`" key to delete clips - or move them without the magnetic timeline coming into play.
    Also if you're not aware of "Auditions" - Final Cut help is your friend. Start with "Intro to auditions in Final Cut Pro".
    And lastly, if shooting multiple cameras - then you should be using the Multicam Clip import - which is maybe one of the best things about FCPX that most other NLE editors aren't aware of.


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    #16
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    Auditions or multicam and various other tools will speed up the workflow for choosing footage, but this is specifically about the way he works and how any clips in a compound clip slide forward when he deletes the first one in the group.

    I don't think FCP 7 did that, but IDR.


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    #17
    Senior Member KarlSutton's Avatar
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    This is what I do as well, connect the audio to a one frame slug in the primary storyline & then edit to the audio on the primary story line. I think it is the closest you can get to a track-based editing feel in the magnetic timeline.

    Quote Originally Posted by markfpv View Post
    Maybe I'm misunderstanding your issue - or not following completely... but having said that - this is something I do in FCPX all the time...
    put music on audio track - not on the story line and lock the audio track. Add clips to the story line (I think it's helpful to see waveform in the audio file - to help with edits on the "beat"). You can also hold down the "`" key to delete clips - or move them without the magnetic timeline coming into play.
    Also if you're not aware of "Auditions" - Final Cut help is your friend. Start with "Intro to auditions in Final Cut Pro".
    And lastly, if shooting multiple cameras - then you should be using the Multicam Clip import - which is maybe one of the best things about FCPX that most other NLE editors aren't aware of.


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    Senior Member Peter C.'s Avatar
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    I know how and do use multiclips and for other types of projects that works fine. For example, filming a 3 camera shoot of a concert, you build a multiclip, put in in the main storyline and the sound track links to it below. This works fine because for a live event all the cameras were filmed at the same time and you will not be removing pieces of it or re arranging it. What I'm describing is a movie where there are multiple takes. The dances aren't not filmed in complete takes. Dancers redo segments of the dance until the choreography is executed to the directors liking. Then in editing the best takes of the separate parts are assemble into one dance. These dances are created in their own timelines then reassemble to the main line to build the movie. Those scenes need to flow seamless into each other but if you alter any of it you don't want it shifting another scene that comes after it. When you put the video in the Primary storyline then the soundtrack gets linked to the first clip the rest of the clips are magnetically attached to that clip not the soundtrack which means any changes in the primary storyline will cause subsequent video clips shift off the sound track since they are not linked to it. So for projects where they are musically driven you put the music in the primary storyline when video clips are placed above it in the secondary, each are linked to the primary storyline which is the sound track. But as soon as you add transitions it breaks the links and they get put into a mini magnetic time line. When I say musically driven, dancers have been choreographed to the beat of the music and are doing precise moves to each part of the song. It's not like a movie where you have a sound track that sets mood but the video doesn't need to be precisely aligned.
    Last edited by Peter C.; 06-13-2021 at 08:11 PM.


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