Multiple in/out points

Here is what I wish to do with imovie.
Please tell me if this is possible.
I have shot some photos with my camera.
I want to import the video into a bin and edit from that one source.
Can I set multiple in and out points from one long video source?
Will this cause havoc with the trash?

There is nothing called a "bin" in iMovie — no place where multiple iMovie projects can share access to the same video file.
Rather, each iMovie project has its own collection of video files. The files are stored in the Media folder inside the project. (Video files are automatically stored there as they are imported from the camera.)
Multiple clips in a project can point to the same video file. So Yes, a video file can support any number of clips in that project.
A convenient way to do that is to place the original clip on the Clips pane, then Option-drag it to the Timeline as copies are needed. Option-dragging creates a copy of a clip (but not its Media file.) Then you can use Direct Trimming — grab either end of the clip to shorten it — to set the in and out points of that clip. There are lots of other ways to shorten a clip too.
Emptying the iMovie trash will not disturb the shared clips, for a Media file is never modified (shortened) when you empty the iMovie Trash. iMovie employs non-destructive editing, which allows the user to always restore a clip to the original length of its Media file. The Media file never changes.
Note that Copying and Pasting a clip from Project A to Project B creates a copy of the clip's entire Media file in Project B.
Karl

Similar Messages

Multiple In and Out Points?

Hi guys and gals!
Are multiple in and out points possible within one sequence/timeline on FCP6?
I'm looking to export a large number of individual segments using Compressor (so I can walk away and let it do its job overnight). Is it possible to set different in/out points on one timeline, and then apply the File>Export>Using Compressor settings?
If anyone has any ideas please advise!
Regards

Hey no worries, will give that a try.
Funny, I've been using Final Cut since version 2 and after all these years I've started to need through jobs the use of batching and exporting. I'm suprised you cannot select secondary/multiple in/out points though, that could be of great benefit. But sub-clips will hopefully work!
Will let you know, thank you
Regards!

Problems with in/out points when submitting jobs via Terminal/command-line

I've writting a GUI based script which allows a user to select a source Quicktime file, and will encode that file to multiple formats, and trims each destination based on specific timecode in/out points. However, I'm having problems getting the Compressor command-line interface to honor the in/out timecodes that I've explicitly set for multiple jobs within a single commandline.
In other words, if I want to encode a source Quicktime between 01:00:00:00 and 01:00:29:23 with just ONE setting/destination, then the following commandline works:
/Applications/Final\ Cut\ Studio/Compressor.app/Contents/MacOS/Compressor -clustername MHM -batchname CLI_BATCH -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/OTWC.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_OTWC.mov -in 01000000 -out 01002923
But if I try to append multiple settings/destinations to the commandline, Compressor will only honor the -in/-out arguments which appear in the LAST -jobpath instance in the commandline.
For example, the following commandline will properly encode the file to multiple destination files, using the appropriate .settings file, but it ignores the -in/-out points that were set for any -jobpath instance that appears before the last -jobpath instance (in other words, every file is output using 00:59:57:00/01:00:30:01 as the in/out points, instead of having the "*_OTWC.mov" file output using 01:00:00:00 as the in point)
/Applications/Final\ Cut\ Studio/Compressor.app/Contents/MacOS/Compressor -clustername MHM -batchname CLI_BATCH -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/OTWC.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_OTWC.mov -in 01000000 -out 01002923 -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/HNN-HD.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_HNN-HD.mov -in 00595700 -out 01003001
It's wierd that everything else about this command-line syntax works as expected (and as explicitly stated in the Compressor -help output, which says "when submitting individual source files. (The) Following parameters are repeated to enter multiple job targets in a batch"), except for the -in/-out points.
I've even tried quoting the -in/-out arguments using colons (e.g., -in "01:00:00;00") , but this doesnt appear to change the behavior.
Is this a bug, or am I missing something here?

I've writting a GUI based script which allows a user to select a source Quicktime file, and will encode that file to multiple formats, and trims each destination based on specific timecode in/out points. However, I'm having problems getting the Compressor command-line interface to honor the in/out timecodes that I've explicitly set for multiple jobs within a single commandline.
In other words, if I want to encode a source Quicktime between 01:00:00:00 and 01:00:29:23 with just ONE setting/destination, then the following commandline works:
/Applications/Final\ Cut\ Studio/Compressor.app/Contents/MacOS/Compressor -clustername MHM -batchname CLI_BATCH -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/OTWC.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_OTWC.mov -in 01000000 -out 01002923
But if I try to append multiple settings/destinations to the commandline, Compressor will only honor the -in/-out arguments which appear in the LAST -jobpath instance in the commandline.
For example, the following commandline will properly encode the file to multiple destination files, using the appropriate .settings file, but it ignores the -in/-out points that were set for any -jobpath instance that appears before the last -jobpath instance (in other words, every file is output using 00:59:57:00/01:00:30:01 as the in/out points, instead of having the "*_OTWC.mov" file output using 01:00:00:00 as the in point)
/Applications/Final\ Cut\ Studio/Compressor.app/Contents/MacOS/Compressor -clustername MHM -batchname CLI_BATCH -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/OTWC.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_OTWC.mov -in 01000000 -out 01002923 -jobpath /Volumes/mel/temp/20120329/TEST_SRC.mov -settingpath /Volumes/common/settings/compressor/M9_Slave/_Local_/HNN-HD.setting -destinationpath /Volumes/mel/temp/20120329/TEST1234_Testing30_HNN-HD.mov -in 00595700 -out 01003001
It's wierd that everything else about this command-line syntax works as expected (and as explicitly stated in the Compressor -help output, which says "when submitting individual source files. (The) Following parameters are repeated to enter multiple job targets in a batch"), except for the -in/-out points.
I've even tried quoting the -in/-out arguments using colons (e.g., -in "01:00:00;00") , but this doesnt appear to change the behavior.
Is this a bug, or am I missing something here?

Getting Color to only render between in an out points

When I import into FCP, I generally create slices of my movies between 1 and 5 minutes depending on what is in them. Then I slice them up with multiple in and out points and place them on my time line. This is all good until Color gets in the mix and its very confusing why it does what it does.
It appears that when sending to color and selecting a primary setting and then rendering, it renders the entire length of the clip (5 min in this example) for every single slice created with that mov file. Now before you tell me this makes sense, you'd have to explain why upon rendering it, it chops the entire film off at exactly my in and out points so as to prevent me from doing any further work such as adding a transition or sliding things around using slip edits or anything else.
So to get this straight, it renders the entire 5 minute clip, then chops it off at 5 seconds which was all it had to render to begin with.
So my question you ask? Well, I want to know if there is a way to get Color to chop the clips off before it bothers rendering? As I said, it makes no sense at all what its doing currently.
And my last question, is there a way to get Color to create handles so that if you decided to add a transition later on you could?
Thanks,
glenn

CHOP: "once clips have been color corrected in COLOR, they are no longer associated with the original media in any way"
Right the first time.
There is the "handles" approach that allows a few frames wiggle room.
CHOP "So should I tell the label that it's a 4-step process or too much of a hassle to extend a shot beyond the original edit?"
(This is an after thought: Has a client ever asked you to "dolly back" a little bit more on a clip to include more of the scene in a frame? Just wondering.)
Lets say it takes a bit of planning.
CHOP: "back to a telecine or flame bay...Quality is never cheap $$. "
Also correct. But there are a few of us that have the delusion of working in the "real world"... where are you? Hollywood?
Actually the FCP/COLOR linkage is a bit better than the old tape/daVinci model. Now that was a hassle.
jPo

Setting in-and-out points -- is this possible?

I set in-and-out points in the preview window by dragging the blue triangles.
I would like to sample various parts of a clip, though there are only 2 triangles.
1. Is there a way to take one segment of video and establish in-and-out points for maybe the first 30 seconds of video and than set another in point maybe 1 minute later with a out point 30 seconds after that. So ultimately the encoding will encode two non-sequential segments of video.
Thanks.

You can't do that, but you can achieve what you want by simply dragging in the clip multiple times into Compressor and for each clip, set your in and out point.

Prelude not creating In/Out points when ingesting P2 footage

I'm working on a Windows 7 (64bit) machine and I'm ingesting footage off of a P2 card reader (connected via usb). In the Ingest panel I marked In/Out points on several P2 files using "I" and "O" keyboard shortcuts. I ingested the footage with the transfer options set to transfer to a new directory on the hard drive (no transcode) with the verify transfer checked. The files seemed to transfer fine and they showed up in the Project panel. When I played them in the monitor I discovered that the In/Out points I set prior to the ingest were ignored.
Prior to ingesting the P2 footage I ingested some AVCHD footage with a transfer and transcode to P2 Movie. In that case the in/out points that I added in the ingest panel were respected when I played them back in the monitor after the ingest.
So, does the setting of in/out point in the ingest panel only take effect if you are transcoding footage?

Current input suggests creating subclips would be acceptable. So the net result you would see in the project panel after ingesting a clip with In/Outs set would be a master clip (representing the full clip) and a subclip representing the In/Out range specified.
Is this what you would also expect?
Michael,
Thanks for your quick response. Yes, making subclips makes sense...although I guess I don't see much advantage of creating subclips prior to ingest vs after...especially when after ingest you can establish multiple subclips on one master clip. On this specific project I had lengthy pre and post roll on several shots which I was hoping to eliminate by setting in/out points prior to ingest - so that after injest I would have only clips with relavant action.

Insufficient content for edit, four point editing, ignore out point on source

Hello folks,
I'm a long time FCP 7 and Avid editor currently using 8.2 for two short form museum films and have been running into all sort of questions. This one comes up multiple times a day. I tried to search for this here but didn't find my exact issue or answers.
I am trying to do a four point edit and I keep getting the "Insufficient Content for Edit" error. My source is marked in and out for 5 sec and my timeline in and out is marked for 8 sec. Four points total. I have already checked the Ignore Source Out point in the Fit Clip window and have checked the "Remember" box as well. My source definitely have enough footage to fill the marked 8 sec in the timeline. So why isn't PP ignoring the source out point when I commit the edit? Of course, I works properly if I go to the Source window and remove the out point manually but that's a pain and shouldn't be the way. Is PP not capable of this? or Am I doing something wrong? What is the point of the "Ignore Source Out Point" if it doesn't apply to this very common situation?
Thanks for any help you folks can offer.
CHL

I think I know what the issue is.
When the Fit Clip dialog opens for me and the source is shorter than the destination, "Ignore Source In Point" and "Ignore Source Out Point" are grayed out. In other words, when the source is shorter than the destination, my only option is to ignore sequence in or out points.
If my source is longer than my destination then it allows me to check ignore source in or out. However, if I have Premiere remember this choice, when I try to insert a source clip that is shorter than the destination, I get the error that you get.
It's obviously a terrible setup and shouldn't be like this, but that's why it's happening.

Nesting just in and out points into master sequence

I have multiple sequences and want to put these into one master sequences. I only want to put the “in to out” points of these sequences and am not sure how to do this. When i select in to out and drag into the master sequence it gives me everything in the whole sequence. Can anyone help. thanks.

You are correct i worked it out, thanks so much for your help.
Is their any way to use the in and out points in the sequence to do this?

Can clips retain last playhead position and in and out points like v7?

Is there a setting that will enable the clips to retain the last playhead position and in and out points so that I don't have to find the place I left off at every time I go to that Clip? Basically how FCP 7 worked.
Vince

This is another area that's lacking in this great application, I'm afraid - but there are ways to keep the 'in and out' points at least.
When you have marked them you simply press 'F' to mark your selection as a favourite. Then if you click the green bar that appears, your selection will immediately be highlighted.
Alternatively, add keywords to your selection - then when you click the keyword collection in the event browser, the clips will be displayed, already trimmed.
A third way is to trim away the unwnated footage in your clip. Lets say you have a long clip and you want to make multiple clips from it. You don't want the first three seconds of the clip and you also don't want the last one second . . . (follow this carefully - it works)!
Move the playhead to your IN point and press the 'O' key (yes the 'O' key).
Now press the backspace key and your clip is trimmed to the 'in' point. Now scroll to the out point and press the 'I' key (that's right). Move the playhead to the 'in' point of your next clip and press 'O'.
Press Backspace and your clip stands on its own for all time.
(You can even mark one frame 'Out' and the very next frame 'In' and this will work - you don't lose any frames).
Sorry I can't help you with retaining the playhead position.
Andy

Video stutters when setting range in and out points within browser

While playing back video and using the "I" and "O" keys to set range in and out points, the video stutters every time I press either key.
Footage is Apple ProRes 422 1080p23.98 and 720p59.94 (problem is more noticeable with 59.94 footage). Playback quality is set to "Better Performance"
FCPX 10.1.3
OSX 10.9.5
Mac Pro (Late 2013)
3 GHz 8-Core
32GB RAM
Dual AMD FirePro D700
Project stored on 7200rpm eSata drive via GbE

Yes that's exactly right. As I'm going through selecting ranges to mark with a keyword tag, the video pauses for a split second (and skips a few frames) every time I use the "I" or "O" keys. As I tend to tag multiple sections within each clip I like to mark my ranges and tag them on the fly while the clip is still playing.

Retime editor: adjusting keyframe / in-out point

In the retime editor I have created multiple ranges which I can drag around to slow and speed up the clip.
I'm not satisfied with the transition points and want to reposition them. However, dragging the keyframes around of course stretched the content, not the in or out point of the retiming tool. So how do I do this?
Also, can I stabilise only the sped up part that (naturally) is shaky?

If anyone could post a dummies step by step guide to what I should be doing here that would be great.
See if this helps:
- Create the gradient (Video Generators/Render/Gradients): this is in the viewer
- Drag the viewer window to the timeline: this creates a clip in the timeline with the new gradient
- Double click the new clip in the timeline: this opens that clip in the viewer - now the viewer shows the clip in the timeline
- Open the Control tab in the viewer
- sh-I moves the playhead to the IN point
- click on the grey diamond on the right of the Start control: this sets the 1st keyframe on the IN point for the start color (black as a default), the diamond button becomes green, and a black diamond appears in the corresponding graph on its right
- sh-O moves the playhead to the OUT point
- click again on the grey diamond on the right of the Start control: this sets the 2nd keyframe on the OUT point for the start color (still black as a default)
- so far you don't see any change; but now suppose you want the start color to be red in place of black at the end of the clip: making sure the playhead is still on the 2nd keyframe (the diamond button is green) click on the black square between Start and the small diamond and change the color to red.
Now if you play the clip you see the first color (Start) gradually changing from black to red (the second color is still white, since we didn't keyframe it)
Piero

Mark a series of In Out Points before capture from DV tape?

When Using Adobe Premier Pro a few years back I seem to remember playing a tape all the way through, marking In/Out points, all the way along the tape, then going back to the beginning click Batch Capture ( or similar) and the machine would rewind the tape and run through again capturing just the relevant clips.
Can I do this in FCE?
I see I can do an individual clip, or the whole tape, but cant seem to find if I can do a batch capture?
If not, is it possible to set FCE to split the capture automatically after each scene , detect where the Record/stop button has been pressed when the film was taken and split there?
Sorry cant tell you what version at the moment, a capture is in progress. But I bought it about one month ago.
Message was edited by: Neil Paisnel

Oh, yes, it was, the fatal error was naming a user 'Home'
That combined with doing a restore from a TM backup that did not backup anything in a folder named Home...so no user data backed up. It is in the TM auto exclude list.
When I rebooted, it would not allow me to log in under any name, as no user existed anymore. Eventually loged back in from terminal/Single user mode, can t remember now. Finally got back in but dock icons all gone, replaced by big question marks, had to run everything from terminal window..
What I am getting at is that I had been lead to believe that this OS was so solid, and to quote one of my friends ' you cant do anything wrong...it wont let you' I had wanted to believe this though I did doubt it. I use a varity of systems, FreeBSD/FreeNAs server or three, Ubuntu variants etc.
So despite what it may sound like, I am not knocking it, and am quite prepared for differences, more dissapointed that it has not lived up to the hype I have been fed by all my mates all these years, and feeling foolishg for believing them. It does not seem any quicker/slower or more or less stable than a well setup and maintained Windows install. Apps certainly freeze as often as Windows apps....but that probably can be laid at the door of the third party developers....Admitedly, it probably takes more work to keep a Windows machine running at top performance, far more daily/weekly chores/cleanups etc to do to keep it 'clean'

How do I update a waveform chart with multiple plots one point at a time?

Hi,
I am updating multiple plots one point at a time. That is, every time I update the chart I have a value for one of the plots. If I put in a cluster with NaN for each of the charts except the one with the data I can only get individual points on the chart. I would rather have them connected.
Any clues? The only thing I can think of is to delay the update and do interpolation between samples - too complicated for me.
Thanks

Are the points within a given plot equally spaced in time? If so, perhaps you need to maintain your own history of the data and used a waveform graph rewriting the history data to the graph each time. If the points are unequally spaced, then you will need to do it as an XY graph.

How to set the out point beyond 9.95 seconds???

how to set the out point in Motion 5 beyond 9.95 seconds???

First you need to make sure your project is long enough then you can adjust the play range (in/out). To make sure the project is long enough:
1. From the project properties (command-J) go to the Duration field and enter a new duration.
2. Click on the down arrow icon to the right of the current time, there is an option to show the project duration. Once set to this you can double click the number and type in a new project duration. I'd recommend setting it back to show current time when done.
3. Of course you can also change the duration of a project when it is first created, in the project browser.
Once you're sure you have a long enough project you can adjust the in and out range. You then use the zoom controls in the bottom of the timeline to show more of the timeline and adjust the play range as needed. There's lots more about project and play range duration adjustments in the documentation: http://help.apple.com/motion/mac/5.1/

Problem - Title Cards in Vid Track 2 Skewing In and Out Points in Track 1 ?

Hi,
Vast confusion. I'm working with edits in a timeline, created from video files that are "Avid Meridien Compressed" Quicktime Files. These are files that I exported from Avid. They are 24P files. The timeline has been set to 23.97, and everything in Video Track 1 makes sense, no problems, no render line because the project compression settings have been set to "Avid Meridien Compressed".
Ok, so here's the problem. I am creating title cards with the video generator in FCP, and trying to super them into my edits by placing them into Video Track 2. But the moment I drop a title card into Video Track 2, (over an edit I have made in Video Track 1), there is a SHIFT in the in and out points of the source video in the timeline. For example, let's say an edit in my timeline has a source in of 02:02:30:17 and an out of 02:02:35:17. The moment I try and drop a title card over this edit in Video Track 2, the source video in Track 1 shifts, so it now begins at 02:02:31:29 and ends at 02:02:36:29.
It is as if the title cards refuse to conform to the 23.97 timeline, and are overriding the source video edit decisions in Video Track 1.
Does anyone have any thoughts on why this is occcuring? Does anyone have any suggestions for a remedy? BTW, I have also tried creating title cards in photoshop and dropping them in, but with the same result: it changes the source time code edits by shifting them later into the source video.
Thanks,
Mtbakerstu

Update!
While I was never able to get the Vid Track 2 title cards to stop shifting the edit decisions in Vid Track 1 when using the preset that is in tandem with the actual source video files (Avid Meridien Quicktimes at 23.98), I did find that by changing the Sequence Setting to DV/DVCPRO50 NTSC at 23.98 that I could drop the titles into Vid Track 2 successfully without any skewing of edit decisons. You now have to render the timeline, but a quick test of an MPEG2 export showed that there's no denigration in image quality with using this setting.
So that's the scoop. It seems that there's no pure solution to this issue. Perhaps if there's a way to generate title cards out of Avid that are importable into FCP, that would do the trick, but I haven't taken my research that far.
Thanks for your help!
Stuart

Multiple in/out points

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