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Changing optimized Media settings
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No problem James and Sascha.
If you are ever confused about which media you are using and the inspector isn’t helpful enough, you can always select a clip, pretty much anywhere in FCPX, and hit command-shift-r which will reveal the clip in the Finder.
If you are using Proxy, it will point to the Proxy file in the Event > Transcoded Media > Proxy Media folder
If you are using Optimized, it will point to the ProRes file in the Event > Transcoded Media > High Quality Media folder.
If you are using referenced original media (.mov imports where you leave the “Copy media to Event UNchecked), it will point to the camera original file wherever you have stored it.
If you are using rewrapped camera original media (such as the AVCHD workflow we have used as an example here) it will point to the Event > Transcoded Media > Original Media folder
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That said I think it should give you the choice through the interface rather than what is effectively a workround do you not agree?
However I am getting on famously with FCPX.
My timeline is so much better organised. Simpler, tidier, loving the audio.
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[James Ewart] “That said I think it should give you the choice through the interface rather than what is effectively a workround do you not agree?”
I think there needs to be more front and center choices. Yes.
As it is now, you have a preference choice between Proxy and Regular/Optimized, which isn’t really a workaround, but how it works. You do have a choice.
I think this preference should be moved right to the timeline bar.
I also agree with Sascha that we should have a choice in optimization codecs. ProRes LT would be great.
Other than that? I don’t think there are very many times where you would choose to use an original media instead of optimized, or if you would choose to make optimized media unnecessarily. If we are talking about R3D, you can reconnect to the raw in the grading program. SO, the way I see it, you do have some choice, you just need to know when to exercise those choices.
ProRes is a pretty great codec. You aren’t going to lose much quality in normal day to day editing.
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As I read through this thread it occurs to me that much of the confusion is generated by Apple deciding to define things with we-do-it-for-you vocab. “Optimized” – how about just telling us what the default import codec is given the original media type. Even export options are presented as “destinations” – don’t mind their suggestions, but tell me what codec it will export as. Yes I can ‘get info and find out. The inspector gives you clues but sometimes refers to the original media. The whole thing seems confusing. There was a need to simplify the process but a professional app needs to leave the final decision to the editor. How about for exports listing the codec with a list of destinations that would be a good fit for that codec. You know rather than “Apple devices.”
Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.
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[Craig Alan] “As I read through this thread it occurs to me that much of the confusion is generated by Apple deciding to define things with we-do-it-for-you vocab. “Optimized” – how about just telling us what the default import codec is given the original media type.”
https://help.apple.com/finalcutpro/mac/10.0.6/#verb8e5f6fd
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Thanks Jeremy. I’m just suggesting that the codec be defined within FCP X. Optimize media upon Import as Apple ProRes 422 or as Apple ProRes 422 (proxy). Export to YouTube as ….
Your link article is the type of language I’d prefer within the FCP X interface.
Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.
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What slightly puzzles me about this article is when I click on the clips in the Event Browser it tells me the Media has been optimised, whereas on Import I merely selected Proxy files as a workflow test. The original Media is AVCHD but FCPX seems to think it has Optimised it anyway…against my wishes I may add..
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[Craig Alan] “Thanks Jeremy. I’m just suggesting that the codec be defined within FCP X. Optimize media upon Import as Apple ProRes 422 or as Apple ProRes 422 (proxy). Export to YouTube as ….
Your link article is the type of language I’d prefer within the FCP X interface.”
I guess I’m confused why you are confused. The manual (which is the article I linked to) says explicitly what happens.
Right now, optimizing any media in FCPX results in a ProRes movie. Making Proxy media results in half frame ProRes Proxy movies. It’s pretty simple.
As far as delivery codecs, you have a wide range of options that you can pick from. YouTube will take a variety of codes and containers.
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[James Ewart] “What slightly puzzles me about this article is when I click on the clips in the Event Browser it tells me the Media has been optimised, whereas on Import I merely selected Proxy files as a workflow test. The original Media is AVCHD but FCPX seems to think it has Optimised it anyway…against my wishes I may add..”
What do you mean by this, James?
Do you mean original? There’s a difference between original and optimized.
As we covered in the past, AVCHD requires a rewrap. The original movies will be h264 .movs.
Optimized will be ProRes .mov
Jeremy
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I’ve been an idiot and just noticed a red triangle in the inspector confirming my files have not been optimised after all.
Sorry and thanks
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