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Back to Premiere. sigh.
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[Oliver Peters] “The FCPX Library linking is based on the shared storage locations at the office. I have had to move assets from multiple drives onto a single RAID, so paths are completely a mess. Relinking in FCPX is nearly impossible. “
Oliver, could you clarify this? While there are some major FCPX re-link issues, in general the above case works for me – provided the filenames are unique. IOW I can combine multiple media trees from a NAS to a directly-attached RAID, change all the paths, and FCPX File>Relink Files will rapidly scan the entire volume and relink all the files.
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[Joe Marler] “Oliver, could you clarify this? While there are some major FCPX re-link issues, in general the above case works for me “
The original edit was done from media on shared storage. Library on a local machine and media left in place. These files were archived onto different archive drives. That’s because the media isn’t associated with one single project. So the library and various media files are on several different drives. In order to make the necessary revisions at home, I have to copy all of these pieces (media and library) back onto single larger RAID. So obviously in that process, paths and volume names have all changed. Filenames are unique.
When I launch the FCPX library it starts to search for files, first going for the nonexistent volume in the path name. It just sits searching and searching. When it finally (minutes later) lets me point it to the new volume it goes back into a long searching mode again before I can actually point it to the correct file.
It would be a very simple fix (IMHO) to add a “manual searching” function that let you point to a place for it to start searching, like you can for individual files once you are in the library.
In the same situation in Premiere, when it can’t initially find the media on launch, it quickly pops up the relink dialogue and you navigate to the new files and hit locate. Then all files in a relative path are immediately relinked and you are ready to go. The only slowdown is that waiting for caching to be completed, since no caches have yet been built. Fast for a project with a few assets. Longer for a project with hundreds of assets.
In my case for this project, I only needed to fix one timeline. So I canceled the search and let it load with media offline. Then relinked the few individual files in that sequence.
– Oliver
Oliver Peters – oliverpeters.com
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[Joe Marler] “It’s ironic the Premiere playback engine is code-named Mercury. It’s like having a pet turtle named “Lightning”.”
The Mercury Playback Engine is what, 12-13 years old? FCX and Resolve very obviously benefit from later development. Likely there’s a group of Adobe engineers working on an update.
David
https://AllinOneFilms.com -
[Oliver Peters] “It would be a very simple fix (IMHO) to add a “manual searching” function that let you point to a place for it to start searching, like you can for individual files once you are in the library.”
Single click the library, hit file > relink files. Hit the locate all button, and point it at the top most folder or directory, (or even drive), and hit Choose. Fcpx verifies, then hit Relink Files.
You don’t have to wait, just keep clicking through the interface until you get to the verify stage.
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[Jeremy Garchow] “Single click the library, hit file > relink files. Hit the locate all button, and point it at the top most folder or directory, (or even drive), “
It’s at this stage where – if you have a large volume of files – that you get stuck on searching, same as with launch.
Just to clarify, sometimes that does go fast. But on this batch of revisions, when you try to follow this process, you can never stop the “looking for matching filenames.” So at each step you get a spinning beach ball for a while until it to a point where it lets you go to the next folder. Basically the app is trying to be too smart for its own good.
– Oliver
Oliver Peters – oliverpeters.com
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[David Cherniack] “The Mercury Playback Engine is what, 12-13 years old?….”
MPE is Adobe’s architecture for dealing with the GPU to accelerate effects. I’m not sure it has anything to do with the playback issues that are of concern.
– Oliver
Oliver Peters – oliverpeters.com
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I just don’t have the same issues at all with relinked media in fcp. Shared drive, unique raid, thunderbolt m2 drive – it’s just one click in relink and it finds the files immediately. If you want you can point it to one file and it auto finds all the others but it’s so reliable it’s one of my favourite features of fcp.
It’s even more impressive when working with postlab – one relink to a local drive when working from home and it’s done. Just can’t get on with premiere’s relink tool.
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
[Tom Sefton] “I just don’t have the same issues at all with relinked media in fcp. “
Obviously our experiences differ. I’m glad it works for you better than what I’m seeing. The experience you describe is how Premiere works for me ☺
Agreed on Postlab.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “MPE is Adobe’s architecture for dealing with the GPU to accelerate effects. I’m not sure it has anything to do with the playback issues that are of concern.”
AFAIK it had all to do with playback…which was why it was called a playback engine. It worked in the first 64 bit build of PrPro as I recall. GPU acceleration worked with some effects, not with the actual decode of the codecs during playback.
David
https://AllinOneFilms.com -
[David Cherniack] “AFAIK it had all to do with playback…which was why it was called a playback engine.”
Nope. You can turn it off and go software-only and it makes no difference on standard media playback. It affects effects processing and transform functions, so if you add filters in software-only or several layers with PIP, then you are taxing the CPU. It also affects the output using an external i/o.
For example, on my mid-2014 MBP, if I put a 4K ProRes clip on a 1080 timeline as “set to frame size” so it scales, it will play just fine (1/2 resolution). When the project is set to Metal acceleration, there’s no colored “stress” line over the timeline. Playback is smooth and instant. When I switch to software-only, I get a red line over that clip and it has to buffer for a split second before it starts to play.
– Oliver
Oliver Peters – oliverpeters.com
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