Resizing and transform in x
I am getting more and more comfortable with working in X, even though I still miss some major feature, the
New invention in X make up for it and hopefully they will still come in the future.
One thing though, I'd really need:
If I transform a video on the TL in size, I do not get any info in numbers in terms of percent of original size, same for distort (which is important when I e.g. Bring in DV PAL WideScreen Anamorphic footage to stretch out right way).
Is there a place in X to get hat info? Or did I oversee a window that would show me those numbers?
TIME BANDITZ Productions
I'm not at my computer, but isn't there a preference option for the inspector to display either pixels or percentage?
On the other hand, there are the spatial conform settings in the inspector as well. Does one of those option just "do it right" for you?
I'm not in the studio right now, but I def will check it out. Yes, percentage for scale and aspect ration for distort would be perfect.
By the way, is there a way in X, how you could click on DV anamorphic footage like on the browser of 7, you when you bring it n the TL it stretches it out the right way?
TIME BANDITZ Productions
Spatial conform should do it, select the clip(s) and choose the appropriate option. There's fit/fill or stretch/crop or similar, don't recall exactly. I would think it does what you're wanting, though I haven't tested with DV Anamorphic myself.
Thanx. I will check it tomorrow in the studio with DV Material and let you know, if it world.
TIME BANDITZ Productions
Is there a way in X, how you could click on DV anamorphic footage like on the browser of 7, you when you bring it n the TL it stretches it out the right way?
Select the clips in the Event Browser and in the INFO tab in the Inspector, set the Anamorphic Override to Widescreen. This option is in the SETTINGS view
TIME BANDITZ Productions
There is a problem in X that I already sent a LOT of feedback for, and I consider it a bug:
if you adjust the position of a clip in the viewer, it updates in the inspector and vice versa.
If you adjust the scale of a clip in the inspector, it updates in the viewer.
But if you adjust the scale in the viewer with the transform tools, it DOES NOT update in the inspector.
I consider it a bug, because if you do a scale change, and go to other clips, if you go back you cannot check if the clip is in its original size.
That's really bad!!!!
It's exactly those things that make it FCX and not FCPX yet.
Thanx for heads up!
TIME BANDITZ Productions
Well, don't be so quick to judge.
FCPX has a some problems, indeed. It had a bad launch, it had a lot of missing features, and it still has some of those. (I have my own bullet point list with 50 wishes and criticisms). FCPX having to get to 10.0.6, more then a year after launch, to get copy and paste attributes or only exporting a range of the timeline... painful. So I get where you are coming from.
But good old FCP also had it's fair share of bugs. Apple dared to do what no other NLE maker did: completely rethink their NLE.
It's been a bumpy road, but an interesting one. And after using it for more then a year, earning all my money and all the money the company I work for earned, I wouldn't call it 'not a professional piece of software'.
I'm curious now: please, send me this 50 points list!
TIME BANDITZ Productions
It's a list I update once in a while, and keep sending to Apple Feedback:
- Being able to Scale or Stabilize Attributes on synchronized clips.
- Remove Attributes button
- If you scroll trough with JKL keys, and you do it very quick, you hear the audio pitch-perfect for the first seconds, and then it disappears. It would be great if it would stay like that.
- Being able to give color labels to projects in the Project Library
- Another behavior when putting multiple dissolves in a timeline. In FCP 7, it would add a dissolve everywhere it could, but if there wasn't enough media, it would not copy a dissolve there. This was very handy when you worked with a lot of clips that just follow each other coming from a recording device that splits long recordings in multiple files.
In FCP X now, you can only choose to create media for the transition, or just cancel and not have a a cross dissolve anywhere. If I'm not mistaken, the first releases of FCP X would give you more choices in this regard.
It's nice to have a combination of the old behavior and the potential new one (with creating extra media) and just have options of both in the dialog window you get. Because if now, you have a recording split in multiple files, and put a dissolve in between those clips with FCP X doing the 'creating extra media thing" you get a weird effect that's not wanted.
- A kind of batch export, and maybe support for kind of reference files?
- If you export for instance, 3 timelines in the background, you only see the first file by name.
The one below, awaiting, just say: 'Master File'. Why can't you say the name of the project or timeline? So you can get a quick idea of what you are already exporting and if you forgot anything.
If it's the same timeline you are exporting multiple times, with changes, let's have it say the name of the sequence with the date and exact time of the export?
- I don't know if this is by design or a bug: if I put multiple in-and out points, ranges as you say, in a clip, and I make them chronologically and push E to append to the primary storyline, it puts them in the wrong order in the timeline. If I make a range 1 and a range 2 in the same clip, in chronological order, FCP X puts it in the timeline as range 2 first, and range 1 second. It's completely opposite of normal thinking? If you have an interview that you want to go trough, it's more intuitive to have it in the same order as the interview. Now it ruins the multiple ranges-option. I can't remember this being so in FCP 10.0.6, but I could be wrong, so I don't know if this was introduced in 10.0.7?
- Synchronize clips seems to only use audio. According to the manual, it also used timecode, but we tried multiple times doing it with clips with the same timecode, and FCP X would never place them correct. In multicam this works correctly. It would be nice to get some more options there and let FCPX use timecode correctly to synchronize multiple audio/video clips.
- If you click Expand All in the menu for expanding video and audio, that it expands every clip in the timeline, INCLUDING the ones you put in the timeline AFTER you pushed the Expand All option. It reduces the amound of clicking. If you want to edit with an expanded view of audio seperately, you click expand all, and edit the way you want. If you put new clips in the timeline, you don't have to press again and again in the menu.
- If you have a synchronized clip with R3D material, making sure the spatial conform works like it does with a normal rough R3D clip.
- More RAW controls from REDCINE in the R3D Hud, including (big one) the eyedropper tool to very quickly and automatically set white balance.
- Have a simple white balance tool in your standard color tools, like the one from RED. Let it be a tool you can switch on or off. The Match-Color behaviour doesn't work very well, and the older 3-way color corrector in FCP7 was miles ahead on some of this manual control.
- A timecode HUD with much more timecode options. Seeing in one view the timecodes of everything in the timeline (like the old timecode overlay in FCP7), optional of course. Being able to COPY and PASTE a timecode from a clip instead of manually having to feed it always, like you could in FCP 7. You could just copy the timecode from the viewer of canvas.
- A well made timecode reader/generator effect, not only a generator. (have both). Like the old one: read timecode, generate one, custom, ... Now, we have to work trough compound clips with timecode generators above, which seems unnecessary.
- More options from Color, including but not limited to color wheels. Tracker. Custom shapes, that can be keyframed, including in their shape points. Sharpening, denoising,... Maybe have a seperate Color Room? (same with Audio?)
- If you click to have Proxy Media Playback, put a warning side if media hasn't been converted to Proxy yet, but don't have it be offline completely. It sometimes doesn't make sense to transcode EVERYTHING in your timeline to Proxy Media. Only being able to transcode a portion of it, and just see a small subtle warning sign in the rest without hindering your ability to work with it, would be much better!
- Fade Handles on seperate Audio Components.
- Fade Handles on video?
- Prores LT as a codec option to optimize!
- In the preferences, have playback for Optimized Media or Original Media be 2 seperate options? Or just some more flexibility.
- Better support for working with networked storage! I'm not talking about users working on the same project on the same timeline (although the patents I saw online about guardians etc. were interesting) but just having the program work easily with networked storage over ethernet!
- If you open the HUD of a Smart Collection, it seems I cannot make the HUD bigger or smaller. Sometimes if I have long names of Keyword Collections of which the first 3 words are the same, I cannot see which to click on or off if I put a Keyword on one of the parameters of a Smart Collections. I don't know if this is a bug or not.
- At the retiming menu, if you click it, have a custom option to manually give in a percentage.
- Custom resolutions when making a project! With a way of making it a preset! It's possible now trough a compound clip and work-around, so it must be possible technically, but just the option needs to be 'activated' in the dialog window when making a new project.
- 'Break Apart Compound Clip' back in the contextual right-mouse click menu.
- At Audio Enchancements, at the background Noise Removal option, have a small button to set the noise print, as you could with Soundtrack Pro. I don't know if the technology now in FCP X is the same as in Soundtrack Pro, but I'm getting much worse results (frankly, I never get good ones, and thus never use it) when using the remove background noise option in FCP X. Maybe having the option to manually set the noise print, will get better results back?
- An audio mixer! Maybe have some seperate Audio Mixing 'room', like you could have with Color Correction. FCP X seems to have great technologies under the hood (some of Color, some of Logic, some of Soundtrack Pro, some of Cinema Tools), but just have the tools deeper would really make it a super-NLE. Not needing to round-trip, but still being able to do so much in an NLE that can seem so simple, but yet can get very deep, is VERY appealing, and would get many people to switch to Macs and FCP X. Look at Color... Yes, you could say Resolve is better, but not needing to round trip, and being able to do very good corrections in the same program where you do the finishing, compositing, editing, ... is really tempting. If you don't want to use it, you don't need to. But I miss Color, and in the same way I think much more of Soundtrack Pro needs to return to FCP X.
Maybe audio mix trough color coded roles or so?
- Being able in the Copy Paste Dialogue box, to paste seperate color corrections, and have them being applied ABOVE whatever you have done to that clip earlier. And not only replace it. Maybe have a small button in the dialogue box where you can choose to ADD your attributes to the clip you are pasting it too.
- Being able to give Color Corrections names, instead of just the automated numbers. And also being able to move a color correction up or down in the effects stacking order, like you can do with other effects.
- Being able in a way to very easily put a video-only dissolve on a clip, without messing too much with detaching audio, secondary timelines, ... Just have a cross dissolve video-only transition in the transition browser or something. Same thing with making an audio-only cross dissolve with a dedicated short cut (it used to be ALT+CMD+T in FCP7)! These little things suddenly can make FCPX a much more slow tool to use.
- Have a quick way of putting audio back to a clip after detaching it. (and if they are out of sync, maybe have a dialogue box or something to choose if you want to keep it out of sync, or put it back to it's default?)
- Have out of sync-markers when detaching audio... Or have better solutions for working with a recording where all the audio is for instance 4 frames off.
- Have a smart Render function, as FCP 7 had where it simply copies original media if you are doing simple cut-cut operations. Now this only seems to be with Prores LT, but not with XDCAM material for instance…
- Have the Background Render option be REALLY background. So for instance, when you are working, it keeps rendering, but like with one core or something. So it's low taxing on the system, but you can really keep working. Now it stops if you do something in the program, and you really let it do a lot, it kind of makes your computer super super slow.
Like the generating waveform that seems to pause whenever you work in the program. It's not logical.
- Being able to also put Events in Folders, like you can with Projects.
- Also having Skimmer info in the timeline, showing for instance timecode of the original clip.
- If you have a (raw) clip in the Event Browser, and click Open in Timeline, and for instance, put a timecode generator on it, and you put it in your timeline, it shows the timecode generator on the clip in the timeline. So far, so good. But if you then, in your Event Browser, after the edit, use the same process to remove the timecode generator or make it invisible, it doesn't update in the timeline. The work-around is to first put your clip in a compound clip, but I think it's a unnecessary work-around which can cause potential errors. You suddenly have every clip you need to use like that twice in the project, and you have to make sure the starting timecode of your compound clip is the same as the one of the clip itself. (UPDATE, I can imagine this works the way it does, because you like having that a normal clip in the timeline is completely independent… I get the logic, but then you should just get a better option for having timecode on a clip that you want to remove instead of compounding every clip first).
- Better support for using FCPX with 3 displays. On a rMBP connected with 2 other displays, it will always use your laptop as a standard second display. The only work-around is closing the lid, let FCPX put your content on the other display, and opening the lid again. Very silly work-around, especially if you have to do it in front of clients.
- If you scale trough the transform tools in the viewer, the inspector doesn't update! Gigantic bug, and really annoying, because now we have to make all our changes in the inspector, because otherwise we don't know what the size of the picture is, and if it has been resized at all (and thus also impossible to set back to it's original).
- Please make it possible to have your transform, crop and color correction tools in the inspector change in stacking order together with effects. Being able for instance, to put a crop ABOVE or BELOW a 3rd party effect for instance. Now there are many work-around necessary (compounding) to do this. (and some things are just impossible)
- When doing a split edit on a connected clip and the audio starts a lot earlier then the video (J-cut), and you then you collapse the clip again, and then put a dissolve on the video, which causes it to become a secondary storyline, it cuts the early audio off. That doesn't make sense (if it's not a bug). A way to solve this, would being able to just put a transition on a clip (dissolve) without it becoming a secondary storyline. I get the logic behind this, but in practice it causes me a LOT of unnecessary clicks in a timeline, while the other way around, if I want to have secondary clips become a storyline, I can always have the option trough the menu command or contextual menu. Please change this behaviour. Maybe it's not a good idea to have a connected clip become a connected storyline automatically after putting a transition on it. In my experience, in 99 procent of the cases, I really have to do a lot of extra clicking around, and it almost never saves me time.
- The background Dashboard hud dissapears when going into another application. Not that handy.
- This feature could maybe be a work-around for the dashboard dissapearing, although it would be nice to have both: In the Share Monitor program, have a look at what you are exporting in every program (FCPX, Motion 5, Compressor 4). They all share the same engine. Having the Share Monitor open and being able to see what you are exporting in FCP X next to your regular Compressor Batch would be great. Having a seperate tab or something like that.
- In a Smart Collection, also being able to use Clip Type: Synchronized Clip. Now you have to do it trough Text, and then add Sync somewhere. A bit of a work-around.
- When making a new compound clip, being able to immediately say which keyword it needs to have. Now, if you need to make a lot of them, and you are making compound clips from clips in a keyword-collection (which we do, to have a timecode generator on them, because we miss having a timecode hud), you always get thrown back into your Event, instead of staying within that keyword collection, and then you have to manually search the compound clip and assign a keyword to the compound clip again.
- In an Event, in your viewing options, you can choose to display: "no rating or keyword selections". I like that option, but it would be extra nice if you have an extra viewing option with separate: "no rating" "no keyword", next to the excisting option of both.
- Being able to have a Proxy with Alpha channel (have the software detect that automatically? Make Prores 4444 in those cases?)
- Being able to change the starting timecode of a compound clip after you have made it.
- A lot of effects, if you put an overlay on them, for easy manipulation in the viewer, it also renders out in your export. This is for instance true by Tokyo Pipinator, as Dashwood 3D Studio. Very dangerous, because you never would think that it would export overlays for editing. I can understand that maybere there is a limitation in Motion 5 that prevents it, but if anything can be done, it would be nice. We have already done a lot of re-renders because of this.
- Being able to adjust values of Loudness parameter in Audio Enchancements with numeric values. Now you have numeric values for the Loudness sliders (Amound & Uniformity) but you cannot adjust the numbers directly, you have to use the sliders.
- In the transform Tools, have full Rotation controls. So for instance, only with the Y axis for instance.
- Better backup, versioning solution: someone on a forum said that he knew of one professional audio application (forgot the name) that had like unlimited undo's within a project. Even AFTER you would have closed the program and re-opened it again. For a program like FCPX, that doesn't even have a Save As option, or a Save option, or a very transparant History function, this would seem like a no-brainer. And it would fit into Apple's OSX vision of versions, but on a professional level.
- The last view of your viewing modes of your clips in the timeline is very small, which makes it very handy if you are working with many layers and don't need to see thumbnails. It would be great to have fade handles for audio in that viewing mode. And maybe also have an expanded audio components view in that mode, but I would consider that less important.
- Having Snapping also work with for instance, doing retiming (with Hold Frames) on multiple secondary storylines above each other.
- In Motion5, in the Browser, also have column view like you have in the Finder. It makes navigating trough your files much easier.
- In both the Project Library and beneath the timeline you can see how long a project is. Very useful, but could you make it a neutral timecode value? Now for instance, a project that is 21 minutes says: 21:33:14 for instance. But in your mind, you always think: is it 21 hours long? It would be nice to get a normal value in that case of 00:21:33:14.
- If there is nothing in a secondary storyline anymore, it seems redundant to let it stay in the timeline. If you select every clip in a secondary storyline, do the lift from storyline command, it's just dead space staying in the timeline. If there is a good reason or logic behind this, I can accept, but if not, maybe delete this?
- If you have for instance 4 layers of video, with each of them having 4 clips next to each other… Once you make a couple of clips in a layer of video into a secondary storyline there is a minimal height difference. This becomes annoying when working with multiple layers of video, and you want to check and go from one of them to the other. (for instance, by putting transitions between them).
- Normally if you have Shift pressed in, and move a clip vertically in your structure, it stays on the same place horizontally. Very handy. But I noticed in 10.0.8 when dragging a secondary storyline with a compound clip in it, with Shift pressed, that it would not stay on the same place and drift, no matter what I did. A bug?
- At this point it seems impossible if you use Match EQ, to apply the match with the same clip, but just an other audio component. If I have one clip with 2 tracks of audio components, and I want to match channel 1 with channel 2, I cannot do so. I need to copy the clip, and make sure it's physically another clip on the timeline. This seems a lot of unnecessary steps and gets in the way of what the whole Audio Component feature is about.
- Bug: sometimes the playhead switches to a completely other point in the timeline. Others have reported this as well.
- Bug: sometimes, when you are working with for instance an empty primary storyline, but 5 layers of connected clips, and you zoom out in your timeline,suddenly you see extra layers, as if FCPX did not move them horizontally but vertically. When you zoom in again, they seem normal again.
- Being able to drop a complete folder in Compressor. And make Smart Folders or Quees. Compressor has Job Actions now, but it would be great if you could tell it to use every movie that arrives in a folder (including things you are currently rendering out in FCPX, but you are leaving the computer overnight), to compress that to a couple of things. I know you SORT OF can get that now by sharing in FCPX to multiple things, but it would be a nice feature for Compressor to have too.
- Better documentation. For instance, when an update comes out, it would be good to have a Release Notes or something, where you can find EVERYTHING that has been changed. Every bug that has been squashed, every new feature that has been added, what under the hood changes has been made (like the fact that FCPX started copying sim-links instead of full media files when copying an Event, for instance, something that I liked, but wasn't documented clearly in an update, so I had to find out trough a MacBreak Studio episode)
- A way to 'lock' edits, maybe in the Project Library, with a simple lock-icon like in system preferences.
- Bug: If you add a chapter mark in the beginning of your primary storyline, which was in my case empty (a gap clip) but with connected clips to it. I then added a clip BEFORE that, trough the Insert command. So far, so good, the marker stayed in it's original place, only later.
When I then put the clip that I inserted before as a connected clip instead of the primary storyline (trough the Lift from Storyline command) the chapter mark disappears.
- Having an easy and fast one-click way of removing all transitions of a timeline or from a selection. Could be just trough right click on your selection, having it as an option 'Remove All Transitions'. The need for this is extra high, because you cannot easily lift clips from a secondary storyline if they all have transitions between them.
- Some strange audio behavior: if you look at a clip in the Event Browser, and place it a Project, it seems like FCPX is making it about 6db more quiet. It's not always transparant what is going on, and where you have control over it. I appreciate FCPX trying to protect you from clipping your audio, and I think it's a good feature, but maybe having some more control in this aspect would be good.
Another strange audio behavior: if you sometimes look a timeline with a long clip, you see on the audio waveforms that they are going in red, like it clips. Once you zoom in on the clip, the red disappears, it seems like the audio just goes high, but not into red. It seems like a bug in how the waveforms look like from a compressed clip.
- In Compressor, it has always bugged me that if you drag a multiple clips into the batch list, if you let the drop on the first batch element that is empty, it only takes the first video, instead of the multiple clips you dragged in. If you want to do that, you have to make sure that if you drop them, you do it beneath that 'empty' holder. It's just a small detail, but it's very annoying, and it slows down.
- Maybe a quick way of clicking on a project in the Project library, and having an option when you right click, to make the project into a Compound Clip (standard with the same settings and timecode as the project of course)
- Serious bug: if you have all your clips on your timeline as connected clips, and the primary storyline are all gap clips… If those gap clips contain markers (again, on the primary storyline), and you go to a connected clip that is in a secondary storyline, and Lift that one from its storyline, you suddenly loose all your markers on your primary storyline!
- Another something on the wish list: it would be great if you could select all your markers in the timeline index, and make them into another kind of marker, with one command, or one click. Like making all your markers chapter markers, or making all your markers to do items, etc. ...
- In the Timeline Index, being able to see Audio Components, research them in a separate tab or so.
- Sync clips keeping the meta-data of the video, and possibly the separate audio too.
[Mathieu Ghekiere] "If you adjust the scale of a clip in the inspector, it updates in the viewer.
But if you adjust the scale in the viewer with the transform tools, it DOES NOT update in the inspector."
It does for me. Which version are you using? Now, if you're scaling below 100 percent in the viewer, it doesn't seem to mirror in the inspector, but if you twirl the disclosure triangle you will see the X and Y scale values with the adjusted numbers.
The fact that it doesn't update the global scale value below 100 percent is a bug as you said, but one with an easy work around if you need to view percentages. The value updates fine if for me if you scale above 100.
I didn't know you can see it seperately in the X and Y indicators when you triangle down in the inspector and that there, it DOES update. Thanks for the tip!
That being said, mostly we just to a linear scale, so it's an irritating bug that your Scale parameter stays at 100 percent when you shrink something.