Short audio-only waveform if multicam viewed in angle editor?

If a multicam clip including an audio-only component is opened in the angle editor, that audio-only waveform is very short, making adjustment and visual assessment difficult. With the A/V clip appearance set to a typical 75/25 split, any audio-only waveform will only occupy the bottom 25% of the audio "lane".

The height of the audio-only waveform in the angle editor seems hard-coded to the height of the audio waveforms in audio/video clips. When you adjust the clip height or audio/video split, the audio-only clips are constrained to the same vertical height within their lane as the audio component of an A/V clip. This wastes a lot of screen space and makes working with audio-only components within the angle editor difficult. It also differs from how audio clip height behaves in a project with detached audio.

Is this a known behavior, a bug or is there a rational reason or workflow solution for this? This is 10.3.4 on Sierra 10.12.6; I don't remember behavior in previous versions.

joema wrote: … any audio-only waveform will only occupy the bottom 25% of the audio "lane".…

… depends on your settings, an 'waveforms-only'-view gives the audio-only clip (bottom clip in my example) same height as the video-clips waveforms…




But you want both, a+v same height as a-only, right?
May I ask for what scenario in your workflow? I use the Angle Editor exclusively for synch and general adjustments of whole tracks (= no need for your 'look') ..... the fine adjustments later in the project …

Karsten Schlüter wrote: ... you want both, a+v same height as a-only, right?
May I ask for what scenario in your workflow? I use the Angle Editor exclusively for synch and general adjustments of whole tracks (= no need for your 'look') ..... the fine adjustments later in the project …

Karsten thanks for the thoughtful post and graphics. I want the audio waveform full height in the lane for the same reason it's full height in every other FCPX scenario involving mixed A/V and audio lanes. If it served some purpose to restrict the audio-only waveform height to the waveform height of adjacent A/V lanes it would be different.

It seems this behavior makes it more difficult to correct multicam sync issues or basic volume before the clip is edited into a project. As you indicated you can change the lanes to 100% audio and that's a decent workaround. If you have several cameras you then cannot see the thumbnails as a visual reminder, but it's doable. But why is that necessary? If the current behavior is preferable, why does not FCPX restrict audio-only waveform height in every other scenario involving mixed AV and audio lanes?

joema wrote: … for the same reason it's full height in every other FCPX scenario involving mixed A/V and audio lanes.…

to play here the devil's (or ) advocate …
the Angle Editor is no 'every other' scenario, I don't edit in the AE (although called 'editor', I'm actual noticing ), it's no tracks replacement, by concept.
As mentioned, in my narrow perspective & usage, I arrange order (in Project I do what I call tv-truck-editing, switching sources 'live' by number keys …), I check & correct synch probs, I do major, general corrections, e.g. white balancing.

=> little to no need for a timeline-design you're missing.

Soooo, to be stubborn, as I am:
in what scenario you need in the AE a bigger representation of waveforms…?
(ok, an 'empty' video-lane is waste of screen-estate, and a discussable design-flaw, but … anyhow )