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FCPX INs and OUTs: Using Storylines and Compound Clips TWO

COW Library : Apple Final Cut Pro X Tutorials : Andy Neil : FCPX INs and OUTs: Using Storylines and Compound Clips TWO
CreativeCOW presents FCPX INs and OUTs: Using Storylines and Compound Clips TWO -- Apple FCPX Techniques Tutorial


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In part two of this tutorial, Andy Neil continues to explain secondary storylines, connected clips, and compound clips and how they are best used in your project. Along with it are some tricks to keep organized and move quickly when you're editing.



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This is part two of a two part series. Part one may be found at http://library.creativecow.net/neil_andy/FCPX-Storylines-1/1


Comments

@FCPX INs and OUTs - Using Storylines, Connected and Compound Clips Part 2
by Robert Bracken
Can you tell me how to move text around inside the viewer? If the text is right justify then long sentences get cut off on the right. Thank you,
Re: Tutorial: FCPX INs and OUTs - Using Storylines, Connected and Compound Clips Part 2
by Mark Dobson
Hi Andy,

Great - really clear and concise tutorials. What I like about your tutorials is the fast pace and lack of repetition. You're aware that we have total control over how a tutorial is viewed and re-viewed.

Just one question, at the end part 2 you create a compound clip in the Event browser that contains a selection of favorited clip selections. What is the advantage of using this technique rather than creating a smart collection. Do you use this to create sub edits, ready to drop onto the main edit?

So my question is, what is the advantage of creating compound clips in the event browser? Are you using them as mini projects?
Re: Tutorial: FCPX INs and OUTs - Using Storylines, Connected and Compound Clips Part 2
by Andy Neil
[Mark Dobson] "What is the advantage of using this technique rather than creating a smart collection...what is the advantage of creating compound clips in the event browser? Are you using them as mini projects?"

There's actually two questions there so I'll try to answer both. In the case of creating a compound such as I did in the tutorial, the advantage to me is to combine all the clips of one type into a single clip. Instead of having to click through 6-7 clips for a shot, I simply need to skim through one clip. This works well for broll shots.

There are those who use event based compounds as little mini projects. I'm wary of this, but use it in a limited fashion. The reason to be wary is that compound clips in your event tend to balloon the size of your event which can lead to performance issues. This is especially true if you are using it to back up large sections of your projects.

However, I will sometimes use event compounds to save effects (by copy/pasting them from the project) or titles.

Andy

http://www.timesavertutorials.com
Re: Tutorial: FCPX INs and OUTs - Using Storylines, Connected and Compound Clips Part 2
by Mark Dobson
Thanks Andy,

I like the fact that one can create compound clips in the event browser as it points to further integration between the project and event browser.

With some pre-planning your idea of using this technique to store titles etc could be useful, I'll give it a try.
Re: Tutorial: FCPX INs and OUTs - Using Storylines, Connected and Compound Clips Part 2
by Matt Tureck
Good stuff, but using this workflow you still can't put a transition going from your b-roll on the secondary storyline to the SOTs on the primary.
What I've been doing is laying down the audio track, then immediately selecting it all and lift them from primary storyline. Then I can insert my SOTs, and then overwrite my b-roll onto the primary storyline.
Re: Tutorial: FCPX INs and OUTs - Using Storylines, Connected and Compound Clips Part 2
by Andy Neil
Well, obviously, the circumstances dictate the workflow. The problem with the workflow you describe (one that I've also used), is what happens after you have all your broll overwritten into your primary storyline and then you need to swap broll shots around? You end up moving your VO clips because they are now connected to the broll clips.

The other possibility is to make the VO tracks into a secondary storyline. Then you only have one anchor point to worry about. Some people then use a small gap clip at the top of their project to anchor it so they don't have to worry about accidentally moving it.

[Matt Tureck] "using this workflow you still can't put a transition going from your b-roll on the secondary storyline to the SOTs on the primary."

I don't often feel it's necessary to transition between broll and a sound bite, but if faced with that, I would simply lift that one clip out of the primary storyline and drop it into the secondary storyline.

Andy

http://www.timesavertutorials.com


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