New secret sauce all about whether you should be using synchronized or multicam clips in your workflows (I’ll spoil it – use multicam)… especially when it comes to trying to sync multiple audio sources to the same video clip. This can happen occasionally… especially in music video or if your sound guy screws up and exports microphones as individual files instead of a single multichannel WAV file (as you’ll see in the tutorial example).

You’re going to have all kinds of problems doing that unless you make a multicam clip instead, and spread your audio out across multiple angle. Also, if you’re curious about how to do that quickly, here’s a blast from the past tutorial from a couple years ago I did on Batch Renaming and Advanced Multicam sync that should give you a really good sense of the best ways to prep your multicam clips:

http://wemakemovies.org/2012/10/fcpx-batch-renaming-advanced-multicam-sync/

The truth is that multicam clips are a far more powerful and flexible way of putting your clips together… and because the FCPX XML has improved so much, and multicam clips now transfer easily to places like Resolve, in my opinion there isn’t much of a reason for synchronized clips anymore outside of Timecode based workflows like Sync N Link.

Anyway, if you’re into this kind of thing… just wait til you see what we have planned in the FCPWORKS Suite at NAB this year:

http://www.fcpworks.com/nab2015/

ABOUT THE AUTHOR

Sam Mestman, FCPWORKS.

This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.

Comments