Oh, hi Mark! ;) I'm trying to duplicate my already synced and slipped subclips, and in them I just want to use the A1 track. (So I need 2 Synced bin, one with every audio track, and one version only with A1.) I can duplicate everything, but can't Modify 'Set Tracks', even if I'm Unlink Media. Are there any solution for this? Thanks in advance!
Interesting question. Haven't actually ever tried to do this myself but have a couple suggestions to try. I'm pretty sure you can't modify "set tracks" on a synched clip (combining stuff from multiple sources), that's only for original clips. Obviously you could always just resync and subclip the original media but just use A1 - that's a sort of brute force approach but would work. Somewhat less effort but I think would still work would be to essentially create a "new" clip out of each one. So take one of your clips, put it (and it alone) into a new sequence, delete any audio tracks you don't want from that sequence (or never edit them in in the first place), then hit "AutoSync" on that sequence and you'd have the same clip but with only A1 track. Still tedious since you'd have to partially do each clip individually, but could expedite it for instance by putting them all into one sequence (create sequence, select all the clips, and hit "B" to put them all into the sequence), delete extra audio track, then jump clip to clip (FF then "T") subclipping, then just AutoSync each. Still a lot of button presses but could go very quickly since all those are (or can be) keyboard shortcuts. Ultimately my main question is "why". I didn't want this to be one of those "instead of the question you asked I'll tell you what you should do instead" so gave solutions to what you actually asked above, but it does seem to me in most scenarios a giant waste of time to do all this work to get another version of the clip when it's very easy to just not edit in the other audio tracks when putting a clip into a sequence. So that would be my vote unless there's some very specific reason you need two copies of the original clips with different numbers of audio tracks - just keep the clips you have and edit with them, leaving out everything beyond A1 where you don't want it (assuming sometimes you DO want the other audio clips, otherwise again why bother having two different versions of the clip).
@@filmprofmark Mark, thank you for your long and detailed answer. I'm just a poor dailies operator, the editorial asked me this, they like to edit only with the A1 track (mono MIX), and just in case, if it is important for them, they want match back to master clips with all of the audio tracks. Thanks!
To make sure I'm understanding: you had sequence A. You duplicated it into (or edited it into) sequence B. Now you're in sequence B in the record (right) side of Composer, hit match frame and want what it loads in the Source (left) side to NOT be the original clip, but instead sequence A? I'm not aware of any way to do that. There may be some nuances with group clips in terms of whether "match frame" loads up the original starting clip or the grouped clip, but as far as sequences I don't think the new sequence maintains any idea of or connection with any priori sequences the stuff was in before. If you knew ahead of time you were going to need to do this, there's probably a way to do a jerry-rigged workaround, like grouping the whole sequence A first and then editing that grouped clip into sequence B, then when you hit match frame it will bring up the group clip (that's really sequence A). But that would be kind of complicated to do right and sounds like probably more trouble than it's worth. My (admittedly multiple step) suggestion if you want to find where in sequence A this part of sequence B came from would be to do the normal match frame on sequence B (so the original clip shows up in Source side), then load sequence A into the Record side, then from the Source side hit "reverse match frame" which will show you where *in sequence A* that same moment shows up. So a bit obnoxious but would accomplish the goal of finding the moment in sequence A that matched that moment in sequence B. Or if I've completely misinterpreted the question sorry and please clarify! :-)
@@filmprofmark Thanks so much for your response! Kind of you to take the time. I think I figured it out, if I have the original sequence loaded into source monitor and THEN use reverse match frame in record window, it does take me back to the exact spot on the sequence (without loading the clip). This is gonna save me a lot of time! :)
These quick tutorials are terrific! Thank You Mark!
You're welcome! Trying to get out more of these short ones so glad you like them
Oh, hi Mark! ;) I'm trying to duplicate my already synced and slipped subclips, and in them I just want to use the A1 track. (So I need 2 Synced bin, one with every audio track, and one version only with A1.) I can duplicate everything, but can't Modify 'Set Tracks', even if I'm Unlink Media. Are there any solution for this? Thanks in advance!
Interesting question. Haven't actually ever tried to do this myself but have a couple suggestions to try. I'm pretty sure you can't modify "set tracks" on a synched clip (combining stuff from multiple sources), that's only for original clips.
Obviously you could always just resync and subclip the original media but just use A1 - that's a sort of brute force approach but would work.
Somewhat less effort but I think would still work would be to essentially create a "new" clip out of each one. So take one of your clips, put it (and it alone) into a new sequence, delete any audio tracks you don't want from that sequence (or never edit them in in the first place), then hit "AutoSync" on that sequence and you'd have the same clip but with only A1 track. Still tedious since you'd have to partially do each clip individually, but could expedite it for instance by putting them all into one sequence (create sequence, select all the clips, and hit "B" to put them all into the sequence), delete extra audio track, then jump clip to clip (FF then "T") subclipping, then just AutoSync each. Still a lot of button presses but could go very quickly since all those are (or can be) keyboard shortcuts.
Ultimately my main question is "why". I didn't want this to be one of those "instead of the question you asked I'll tell you what you should do instead" so gave solutions to what you actually asked above, but it does seem to me in most scenarios a giant waste of time to do all this work to get another version of the clip when it's very easy to just not edit in the other audio tracks when putting a clip into a sequence. So that would be my vote unless there's some very specific reason you need two copies of the original clips with different numbers of audio tracks - just keep the clips you have and edit with them, leaving out everything beyond A1 where you don't want it (assuming sometimes you DO want the other audio clips, otherwise again why bother having two different versions of the clip).
@@filmprofmark Mark, thank you for your long and detailed answer. I'm just a poor dailies operator, the editorial asked me this, they like to edit only with the A1 track (mono MIX), and just in case, if it is important for them, they want match back to master clips with all of the audio tracks. Thanks!
Ah, gotcha. The dreaded "well we may need this at some point and it's no skin off our back to have someone make it"
Hi Mark - I am looking to match frame a copied sequence back to the original sequence NOT the clip. Is this possible?
To make sure I'm understanding: you had sequence A. You duplicated it into (or edited it into) sequence B. Now you're in sequence B in the record (right) side of Composer, hit match frame and want what it loads in the Source (left) side to NOT be the original clip, but instead sequence A?
I'm not aware of any way to do that. There may be some nuances with group clips in terms of whether "match frame" loads up the original starting clip or the grouped clip, but as far as sequences I don't think the new sequence maintains any idea of or connection with any priori sequences the stuff was in before.
If you knew ahead of time you were going to need to do this, there's probably a way to do a jerry-rigged workaround, like grouping the whole sequence A first and then editing that grouped clip into sequence B, then when you hit match frame it will bring up the group clip (that's really sequence A). But that would be kind of complicated to do right and sounds like probably more trouble than it's worth.
My (admittedly multiple step) suggestion if you want to find where in sequence A this part of sequence B came from would be to do the normal match frame on sequence B (so the original clip shows up in Source side), then load sequence A into the Record side, then from the Source side hit "reverse match frame" which will show you where *in sequence A* that same moment shows up. So a bit obnoxious but would accomplish the goal of finding the moment in sequence A that matched that moment in sequence B.
Or if I've completely misinterpreted the question sorry and please clarify! :-)
@@filmprofmark Thanks so much for your response! Kind of you to take the time. I think I figured it out, if I have the original sequence loaded into source monitor and THEN use reverse match frame in record window, it does take me back to the exact spot on the sequence (without loading the clip). This is gonna save me a lot of time! :)
@ellyward7381 glad you got it figured out!
TNX !!!
You're welcome!