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FCP X到逻辑Pro X中,印刷精美
Ben Balser on Thu, November 7th 8 comments
You may have heard it's possible for Logic Pro X to read FCPXML! Ben Balser explores the best ways possible to create a successful workflow between Apple's pro video and audio workstations.

的Logic Pro X是能够现在读FCPXML的到Final Cut用户是一大福音,与专业级的音频工作时,需要处理。然而,当从Final Cut Pro X的逻辑通过FCPXML Pro X中,有一些注意事项,你需要准备。我把这个印刷精美。在本文中,我们将看看什么是必要的,这两个应用程序之间创建一个成功的工作流程。


准备时间轴

需要注意的第一件事情是音频采样率。真的不应该有任何问题,但它仅仅是很好的做法,是确保非编时间轴中的所有音频采样率是相同的。视频标准音频速率为48 kHz。音频,尤其是对话,是不是在相同的采样率的时间表设置可能会导致漂移,随着时间的推移变得越来越明显。但如果你真的必须使用音频采样率的不同,在你的项目时间表,这个工作流逻辑应该不是真的是一个问题,因为在本文的后面看到。

要注意的第二件事是逻辑不会FCPX可阅读所有的视频​​格式。它只能读取大多数Mac友好的QuickTime格式。例如,即使我可以在FCPX编辑REDCODE RAW文件,当我作为FCPXML导出该项目时间表,逻辑不会成为能够播放视频,因为它不能读取,视频格式本身。在这些情况下,使用两个工作流程之一。要么进入FCPX喜好切换播放媒体代表,如果您已经创建。或导出主文件以及在本文后面讨论。

最后,这是非常重要的,你会需要掰开复合,同步,多机剪辑。写这篇文章的逻辑变得很困惑,当尝试读取这个东西从FCPXML文件。如果你有这些,我建议复制该项目,然后在这个新的项目时间表摔东西,除了在重复的时间表。保持你原有的完整的,,让逻辑躺在你的音频剪辑出来,因为它应该。


从Final Cut导出

简单地在您的项目中得到公正的音频剪辑从FCPX到逻辑​​,只需打开时间表,“文件”菜单中,出口项目XML。你只能导出一个项目时间表与FCPXML。你有选项,从下拉菜单中选择一个元数据视图。这样就建立了哪些元数据包含在导出的文件。对于大多数情况下,基本的选择会工作得很好。逻辑不会处理许多先进的元数据中提出的其他意见,反正。

Figure 1


如果您正在使用媒体优化或代理,并希望使用该视频的逻辑,它会自动进口您的FCPXML文件。如果您使用了其他一些没有原生的Mac友好的QuickTime格式的逻辑可能无法读取,那么你会要导出的视频只有你的项目作为苹果的ProRes代理。将得到的电影可以是一个浮动窗口,或只限于静态电影“窗格中的逻辑。

如果你想有一个视频轨上沿顶部的音频剪辑为一个简单的视觉参考,youll需要FCPX导出主文件中,设置出口窗口设置导出仅音频,作为苹果的ProRes(代理)。逻辑,你会去文件,电影,然后选择“打开”电影。最后,你会想打开全球电影轨道隐藏曲目。


导入逻辑

要将此文件导入逻辑,开放逻辑,并从浏览器中显示,当你第一次启动它创建一个新的空项目。它会问你要创建一个轨道,作为一个音频项目必须包含至少一条轨道。将它作为一个音轨,如下图所示。

Figure 2


然后,只需转到文件,导入“选项,并选择Final Cut Pro的XML。根据您的项目大小,它会贯穿一个读的过程,并最终与你的时间表,音频剪辑都奠定了。如果你使用不同的采样率,逻辑片段将提示您选择使用采样率,一般为44.1 kHz或48 kHz。选择48千赫(除非你有一个需要44.1)和所有其他采样率的音频文件将被自动转换。我发现这种转换是非常有效的。

Figure 3


接下来,如果你的的FCPX项目时间表的帧速率比什么是设置为默认的逻辑是不同的,你会被提示做出另一种选择。默认情况下,逻辑设置为25 FPS,但我们大多数人都使用30或29.97或一些其他的帧速率。只需选择FCPX项目设置,将符合逻辑没有问题,帧速率的帧速率。

Figure 4


的逻辑影片预览

当你进口FCPXML逻辑会自动寻找视频文件,为您呈现全分辨率视频预览画面。它最多可能需要您的显示器。不用担心,无论是抢该屏幕的一个角落,并调整其大小,或右键点击里面的画面,并选择一个较小的尺寸,如.25(一季度)。这是一个浮动窗口,你可以自由走动。如果你像我一样,你恨,喜欢电影窗格。只需关闭该浮动窗口,你应该看到你的电影出现在顶部的左侧窗格中的逻辑接口,上述地区和跟踪督察窗格(快捷键简直是 )。

Figure 5


如果你不得不出口代理的视频文件,通过“文件”菜单上,电影选项,然后选择打开电影导入。选择你的QuickTime文件,它会工作上面的一样,除非你也有增值电影轨道。打开全局参数按钮,并一起看电影的轨道的顶部音轨。

Figure 6


节约

请记住立即保存在逻辑( 命令-S)。在初始保存窗口中,选择“文件夹,并取消其他所有选项。默认情况下,它会进入你的音乐文件夹,到一个子文件夹,名为逻辑,然后你给它的名字到一个文件夹。一个非常简单的系统容易跟踪你的逻辑工作。

Figure 7


如果你到了一个点,你想版本逻辑项目,只需使用副本另存为 “文件”菜单上。


从逻辑导出

一旦你的工作完成的逻辑,它是出口的时间去回Final Cut。有两个主要的工作流程。首先是反弹了所有我们的音频到一个单一的,自足的立体声或环绕声AIFF文件,你被锁定在最终混音。二是要导出FCPXML的文件,留下我们每一个人的音频剪辑为进一步编辑和修剪在FCP X


导出AIFF文件

弹弹下,录音棚是一个古老的术语,指的弹跳只有一个或两个多音轨录制的磁带的最后混音的过程。你有一个音频文件充分混合。

当你的工作完成的逻辑,进入“文件”菜单上,反弹,选择项目或选择( 命令-B)。对于一个标准的的AIFF文件设置视频标准的音频规格,配置在下面的图片中看到。弹跳窗口的左下方显示了一个估计的文件大小和处理时间。然后,只需点击“跳出”按钮,产生的AIFF文件导入到FCPX正常。这是最可靠和最简单的选择,让你的工作,早在FCPX。我强烈建议总是做反弹,让您的工作早在FCPX,只是由于其可靠性。

Figure 8


导出FCPXML文件

这种方法为我们提供了一个XLM文件导入到FCPX,这将导致一个新的事件,新的音频文件和一个新的项目时间表,其中包含所有的音频剪辑。在撰写本文时,我发现这种方法是非常错误的,建议不要使用它,直到苹果公司已经解决了XML工作流逻辑好一点。我发现剪辑时间轴年初开始,他们不是为了,视频剪辑是不正确的,只是有太多的问题,在这个时候是可行的。当苹果修复了这个工作流程,我们会更新这篇文章。

Figure 9


一个音符约导出XML为Final Cut从逻辑的是,你将有一个选择。它导出为复合剪辑或作为常规项目时间表。只需勾选或取消出口作为复方夹复选框逻辑的出口窗口。无论哪种方式,你会得到相同的内容和结果。唯一的区别是,其中有一个复合夹一个新的事件,可以放置在其他时间表。给你一个新的事件的一个项目。给你所有新的剪辑,这是从逻辑导出到相同的位置您的FCPXML文件。


结论

FCP逻辑工作流程是不是一个完美的,但显示,苹果已经开始得到了一个来回,这是非常有用的方法。只要你知道如何往返工作流程的作品,告诫准备,你应该能够利用这个没有太大的问题。我希望这篇文章清除将拍摄对象,并期待深入的逻辑Pro X的在这里训练在macProVideo.com


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Comments (8)

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  • Nytupou
    Hi Ben, Thanks for your articles on how to roundtrip between Final Cut and Logic. I read the one you wrote in July, too, and both are great. I have some questions about audio bit depth, and hope you'll offer your insights here: Say my Final Cut Project has audio settings of 48 kHz sampling rate and 16-bit depth, but I want to edit the audio in Logic at 48 kHz /24-bit. (I might want to mix the video's audio with another track of voice-over recorded at 48 kHz/ 24-bit depth, and also add some audio processing.) What do you think about this workflow: 1. Exporting the audio from Final Cut as a Master File, 2. Transcoding (in QuickTime Pro or Compressor) from 16 to 24 bit depth, 3. Importing the audio into Logic Pro as 48 kHz/ 24 bit depth, 4. After working in Logic, bouncing down the audio from multi-track, 24-bit to a single 16-bit stereo track, 5. Importing the track into Final Cut, where it will again match my Project settings. Any thoughts about this approach?Or is there a way to do this using XML exporting and importing? Thanks again!
    • 6 years ago
    • By: Nytupou
    Reply
  • BenB
    My first question would be why you want to go 24-bit for something as basic as voice work. You won't hear any difference in quality. And I do all of my VO work now directly inside of FCP X. I like the magnetic timeline workflow infinity better than the multi-take features of STP or Logic. Now if there were a reason you really had to take it to Logic, and had to work in 24 bit, I'd use Roles to export my audio tracks as audio stems at 24-bit (custom Compressor settings help with this). Then bring the bounced down mix back into FCP X. When I brought back the mix into FCP X, I'd first Duplicate my Project (Project only) and put all original audio into a Compound Clip, then drop my mixed down AIFF into that Project. But again, there is going to be no perceivable difference between a 16-bit and 24-bit voice track. And its all going back to 16-bit for a standard video file, also.
    • 6 years ago
    • By: BenB
    Reply
  • BenB
    AND, you could always change your Logic project setting to 24-bit after the FCPXML import into it.
    • 6 years ago
    • By: BenB
    Reply
  • Nytupou
    Hi Ben, Thanks for your suggestion — I'll try it! Regarding working at 24-bit depth in Logic Pro X, I record voice-over in Logic, where recording at 24-bit is recommended and is the default setting. I also mix and process audio in Logic — EQ, compression, maybe a limiter. Here, too, I've understood that it's best to process audio at 24-bit, then bounce to 16-bit for use in Final Cut, then creating the DVD and playing the movie. So that's why I was wondering how to put the 16-bit audio from video (captured in Final Cut) into 24-bit for mixing and processing in Logic. Again — thanks for your great articles on the round-trip between Final Cut and Logic!
    • 6 years ago
    • By: Nytupou
    Reply
  • Rounik Admin
    Hi duenorth, From my understanding, the greatest benefit you'll get is when recording at 24-bit depth... as this will give you much more dynamic range and therefore headroom and allow you to record at lower levels while capturing plenty of data info. When it comes to converting from 16bit to 24bit I believe you're not actually improving the bit depth of the audio file, it will simply create a larger file. The dynamic range is already set. So, I'd recommend staying at 16bit when importing into and mixing in Logic ... Hope this helps, Rounik
    • 6 years ago
    • By: Rounik Admin
    Reply
  • BenB
    Again, just change the bit-depth of the Logic Project, if desired.
    • 6 years ago
    • By: BenB
    Reply
  • Nytupou
    Hi Rounik, Thanks for your thoughts! I agree with you on recording voice-over at 24-bit depth. I also agree that converting the 16-bit audio from Final Cut to 24-bit in Logic doesn't improve that audio: it just creates a bigger file size. But my Logic project involves mixing a 24-bit voice-over track with the 16-bit audio tracks from Final Cut. All the tracks in a Logic project must have the same bit depth. Should it be 24-bit or 16-bit? I prefer 24-bit, since I'd rather preserve the quality of the voice-over track, and I accept a larger file size for the audio-from-video tracks (after they're converted to 24-bit). Also, this way I can mix and process the tracks in Logic at 24-bit and bounce to 16-bit.
    • 6 years ago
    • By: Nytupou
    Reply
  • BenB
    Go with 24-bit.
    • 6 years ago
    • By: BenB
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