syncing audio

anyone know how to sync audio with a clip in the timeline?

How come when I do use FCPX's synchronizing audio feature, why does it have to created a mixed track, is there a way to command it to simply sync 2 clips by audio without having the program mix the audio?

kegmeg wrote: anyone know how to sync audio with a clip in the timeline?

How come when I do use FCPX's synchronizing audio feature, why does it have to created a mixed track, is there a way to command it to simply sync 2 clips by audio without having the program mix the audio?

It doesn't create a mixed track. It lines up the common audio and, if it's mono, keeps it all panned center. The audio becomes a component of the picture. If you want to disable one or more channels in a synced clip, you can do that in the audio tab of the inspector. If you want to manipulate separate audio channels in the clip, you expand the audio components in the timeline, giving you access to the individual channels.

kegmeg wrote: anyone know how to sync audio with a clip in the timeline?

Ah, but it does insist on you doing the sync operation in the Event browser, rather than in the timeline itself. There's no (automated) way to drop video and associated audio clips on the storyline and have it sync within that storyline by shuffling the clips into place. That's a valid workflow, but it's not the one FCPX picks.

To be honest, I prefer FCPX's approach. I import my media, then spend a little time syncing up all the clips in the Event browser, tagging them all as 'sync', and muting the camera audio tracks in the inspector. I then build my assemble edit from the sync bin. Done.

plysat wrote: The audio becomes a component of the picture.

This is what I don't care for. I usually shoot on a Canon DSLR and the camera audio is 2 frames out of sync. Syncing the audio means the good audio is now two frames out of sync and instead of just selecting the audio clip and typing +2 and hitting Enter or Return I have to do a bit more work. Of course this wouldn't be an issue if Canon would get their act together (haven't tried 5D Mark III audio yet, just 7D and 5D Mark II).

Why don't you just open the sync clip in its own timeline and adjust. I do it all the time.

"instead of just selecting the audio clip and typing +2 and hitting Enter or Return I have to do a bit more work. "
EDIT: Seanus... great minds think alike... lol

Just open the synched clip in a timeline, move the audio 2f and you're done. Well, for that clip anyway. But it's not that big a deal. I actually really like that because, unlike other NLE's, If I get a multichannel QT source that's out a couple frames, i can fix the master and I'm good to go. Anything else i gotta fix it on every clip I cut in from the master.

The thing about syncing clips is that it creates a new compound clip and you have to re-enter metadata like scene, take, reel etc...

It would be great if you could just open a clip in a timeline and sync a selected clip to the master clip like in multicam. I like the automatic way FCPX does it, but it just creates more clips that need to be managed.

Julian wrote: The thing about syncing clips is that it creates a new compound clip and you have to re-enter metadata like scene, take, reel etc...

Yes, I've sent feedback about that in the past - FCPX could be smarter about inferring metadata in this sort of circumstance. When there's only one video track, and we're syncing with split audio, I think the default should be to carry video metadata over to the new sync clip.

As it is, I sync first and log the sync clips rather than the camera masters. Staring into the barrel of a documentary project this summer, I bought a JuicedLink box for the main (DSLR) camera, precisely to avoid the split-track workflow. I don't mind it for short projects, but when the number of clips gets into the hundreds split-track is still a pain.

Oh, if only I could hand the problem to another member of staff… :S

Seanus wrote: Why don't you just open the sync clip in its own timeline and adjust. I do it all the time.

You've gotta open it in its very own timeline? You see I wanna adjust that when it's on the timeline with everything else. Or are you talking about dealing with it like PSDs where you double click on them on the main timeline, they open up on their own timeline, make changes there and they stick? I've never had reason to deal with compound clips or multi-angles which every other member here without exception does so that kind of stuff is a little alien to me.

Redifer wrote:

Seanus wrote: Why don't you just open the sync clip in its own timeline and adjust. I do it all the time.

I've never had reason to deal with compound clips or multi-angles which every other member here without exception does so that kind of stuff is a little alien to me.

You gotta find a reason to use multicam, it's amazing. Compound clips are cool too, but not too exciting.

Redifer wrote:

Seanus wrote: Why don't you just open the sync clip in its own timeline and adjust. I do it all the time.

You've gotta open it in its very own timeline? You see I wanna adjust that when it's on the timeline with everything else. Or are you talking about dealing with it like PSDs where you double click on them on the main timeline, they open up on their own timeline, make changes there and they stick? I've never had reason to deal with compound clips or multi-angles which every other member here without exception does so that kind of stuff is a little alien to me.

Yes because of the error with the 5D Mk II you just open the syncronised clip in it's own timeline and adjust the audio. Then you never have to worry about it again. Much better than doing it on the Project timeline IMHO.

The other great thing about opening them in their own timeline is you can trim off any excess audio or video.

Seanus wrote: Yes because of the error with the 5D Mk II you just open the syncronised clip in it's own timeline and adjust the audio. Then you never have to worry about it again. Much better than doing it on the Project timeline IMHO.

The other great thing about opening them in their own timeline is you can trim off any excess audio or video.

Exactly how/why I do this too. Yes it can be a PITA, but it's part of preparing the clips for editing.

I do agree though that the metadata should come along to the new compound clip. I'm also not a great fan of compound clips since they appear to slow the system down a little. But it's better than no sync at all.

You can of course always separate the clips again in the timeline if you want to make further adjustments.