As it's observational, we're dealing with lots of synch and non-synch
that's all nestled together in each clip, so the only way to colour-up
the non-synch would be to give it a 'local' colour, which would be
counter-productive as it'd take longer to do than the way I'm doing it
at the moment... Well, maybe about the same time.
CP
On 12 Jan 2010, at 15:42, Curtis Nichols wrote:
>
> Use only one sequence to seperate synch from non-synch. If your non-
> synch and synch master clips have different clip colors in the bin,
> and clip color is turned on in the timeline, you'll have an easy
> visual
> to differentiate one from the other. Use the Red arrow to move non-
> synch material up one V2. When your done, you'll have synch on V1,
> non-synch on V2. Make two duplicates of the sequence. In one, remove
> synch material and empty gaps; in the other, remove on-synch
> material and empty gaps.
>
> Curtis Nichols
> Señor Editor
> PCS Production Co.
> Irving, Tx.
> ------------------
>
> ________________________________
> From: Christopher Pitbladdo <avid@digitalbuddy.co.uk>
>
> As it stands, I'm alt-X'ing (cutting, and loading into the source
> monitor) all of the non-synch footage, then opening up the non-synch
> sequence, and adding it in... then I go back to the original sequence
> and do it all again.
>
> [Non-text portions of this message have been removed]
>
>
[Non-text portions of this message have been removed]
------------------------------------
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