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TOPIC: From Master to Compound to Multicam... Color grading between parents and childs

From Master to Compound to Multicam... Color grading between parents and childs 29 Jul 2019 18:59 #100651

Hi everyone, nice to meet you all, in my first post, although I've been reading many contributions to this forum, during the last weeks.

I'm working on a video where me and a Wolksvagen representative drive around the city and talk about a new car. I used 4 action cams, 2 for the talking heads, with better image quality, and 2 for dashboard and rear angle view, because of their superior EIS.

I was also trying those action cams, so my first error: loop recording.
I have about 20 small clips for each action cam.

Trying to organize neatly my workflow, I did

- Create 4 compound clips for the 4 action cams
- Create one multicam clip, synchronizing the 4 compounds plus the 2 lavaliers
- Create projects for each theme we were discussing, using the multicam clip where I cut and use only the part related to the topic

I left the color grading part last, because I didn't want to color grade every project.

I thought a more efficient approach would be color grading the single compound clip.
Being the multicam made with the compound, and the projects using the multicam, shouldn't every project inherit the color grading I made on the compound?

Now I'm presented with a weird scenario, where I remove the grading from the compound, save a screenshot from the project, redo the grading, compare the screenshots... and there's difference, but it doesn't quite look like the compound clip!
Or even worse, in the multicam project, the same angle has two adjacent parts, same camera, where only the first seems to have the color grading applied???

Help!
Is my assumption of inheritance correct, for the grading?
What is the right workflow?

Thank you to anyone that has the expertise for these matters, and the kindness to answer.
Marco
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From Master to Compound to Multicam... Color grading between parents and childs 30 Jul 2019 12:54 #100659

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Why make Compounds? Just Multicam the whole thing. Color-grade once that's edited.

Normally when I import, I'll make a keyword collection for each camera, import each camera directly into its own keyword collection. Then give all the clips from each camera a unique Camera Name and Angle number. Then I create my multicam and edit away. I've never done compound clips for each camera. Not sure why I'd do that.
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From Master to Compound to Multicam... Color grading between parents and childs 30 Jul 2019 14:24 #100665

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MarcoCompraTutto wrote:
....Trying to organize neatly my workflow....

- Create 4 compound clips for the 4 action cams....
- Create projects for each theme we were discussing, using the multicam clip where I cut and use only the part related to the topic

As FCPX.guru said, you don't normally need to make compound clips for that purpose.

Yes compound clips can be used to create "pseudo-timeline snippets" with clips arranged in a sequence. That's better than making a bunch of projects, since compound clips can be skimmed in the Event Browser. But is not always necessary nor the best organizational approach.

To optimally leverage FCPX, the organizational procedure should focus on rating and keywording clips in the Event Browser before you create a timeline. Then become familiar with the various query tools to filter and search that material. Do not think in terms of projects (aka timelines) as the unit of organization, rather use the database features for that.

Make a multicam of the entire thing, then skim that MC clip using the angle editor (SHFT+CMD+7), marking rejects, favorites and keywords. In the timeline use only tagged ranges from the MC clip - do not use the single-cam constituent or "parent" clips. To avoid accidentally using these it's sometimes best to reject them all (after MC creation) and use the Browser filter "Hide rejected".

Each topic in the MC clip can be keyworded, and you can also add more detailed notes which are searchable. This is a very fast process. See MacBreak Studio #223 "Warp Speed Key-Wording":



You may sometimes want to see clips from a given camera. During offload, all clips from a given camera can be in a named folder, e.g, GoPro dash cam, GoPro rear view, etc. During import you use the FCPX preference "Keywords: from folders". It will automatically keyword all clips from a given camera with that folder name. This is important if you have several similar cameras with the same codec, similar composition and similar filenames. It can be difficult to tell them apart after import. Using the above procedure avoids that.

Browser clips can be grouped or sorted by certain criteria. E.g, View>Browser>Group Clips By or Sort by. Some of those depend on the metadata being imported from the camera (not always possible) or being applied later.

However except for those sorting/grouping options, Browser clips are unordered. The paradigm in FCPX is queries and results, like a relational database. The idea is you heavily leverage the tagging and query tools so at any moment you are only examining a small relevant subset of clips in the Browser.

After you have thoroughly organized the material in the Event Browser, *then* you are ready to consider presentation sequence. People familiar with track-based NLEs are accustomed to organizing by a stacked up "pancaked" timeline or by multiple timelines since that's all they have to work with. With FCPX it's important to initially use the database and defer sequential or temporal clip organization until later. Admittedly this is a mental transition and humans are hard-wired to think of items spatially or navigationally.

In many cases you can go from an organized, filtered collection of Browser clips straight to the final timeline. This is because the query tools have separated the "wheat from the chaff" and you are only examining a condensed, highly-curated version of the original material. Oftentimes this enables you to immediately visualize an obvious presentation approach, or add those to the timeline and start that process. FCPX is very good at rearranging clips on the timeline.

However in some cases it might be useful to create compound clips to place specific clips in sequences, which are later inserted in the timeline. That is an OK approach.

MarcoCompraTutto wrote:
.....I didn't want to color grade every project...

Once you create the big MC clip you can open that and do an initial color grade on the full length of each underlying camera angle. That will be inherited by the MC clip ranges you later add to the timeline.

Later on in the timeline, you will often need to fine-tune the color of each MC clip range. This can be done several ways:

- Modify>Match Color. This doesn't always work but it's worth a try

- Color grade a master clip in the timeline then copy/paste that correction to other similar clips. This can be done in a single step. CMD+C to copy, the select several similar clips and SHIFT+CMD+V to paste attributes. Select only the attributes you want pasted.

- Comparison viewer: Starting with FCPX 10.4.4 we have the new Comparison Viewer which aids in matching two different shots. See Ripple Training summary of this:



For another example of how to use FCPX filtering tools, see "One Smart Collection To Rule Them All":

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From Master to Compound to Multicam... Color grading between parents and childs 06 Aug 2019 17:20 #100762

thanks, for answering me. :) :) :)
Why compound? What would you have done with 4 cameras, where, for a mistake, you don't have one long clip, but 23 clips, each overlapping 29 frames with the subsequent.
I thought it was a good, intermediate step, before the multicam clip.
Am I wrong?

Thanks!
Marco
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From Master to Compound to Multicam... Color grading between parents and childs 06 Aug 2019 17:39 #100764

I'm impressed by the competence shown in this reply, and know that... while on vacation, I have A LOT to study!
I admit, coming from Vegas, all this database-like approach is completely new (not to mention, most of the time I was working to avoid or understand why it crashed), to me.
But I like it, and, again, I want to go deep with it. What is the best information, out there, as a video, course, etc, to prepare you to use a professional workflow with FCPX? Let's be positive and think someone could hire me to work on FCPX, I wouldn't want to let them down...

Color grading side...

> Once you create the big MC clip you can open that and do an initial color grade on the full length of each underlying camera angle. That will be inherited by the MC clip ranges you later add to the timeline.

I love your explanation, and would love if it worked your way!
There's something I don't get... today, new project, I just synchronized the cavalier and the camera clip, and got a new, synchronized clip.
I then created a project, and added pieces from the synchronized clip.
Now, I color grade the synchronized clip, but my project doesn't inherit the grading... damn...
If I go to my project, double click a cut, it opens a clip where only the used part is not dark. I can select all, then use "Open clip", but again, if I do color grade the whole clip, go back, go back to the project, only the cut has inherited the grading... I thought it would work because it's hierarchical, isn't it?

Have a nice day, and thank you!!!
Marco
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