Did I stumble onto something like “reconnect media” in X?

[Bill Davis]

[Oliver Peters] “Was this brought in as “import from camera”? If so, I believe that works much like Log & Transfer in Legacy. L&T allowed a sort of batch import and it’s likely that’s what you are seeing.

Oliver
“

Actually no, Oliver.

I was using the Import File command, not Import from Camera.

I suspect that one key to my success was that I regularly make Disk Images of my cards as backups. So when I open those disk images, the clip and thumbnail and meta-data relationships are preserved.

So X “sees” the file structure as if the original cards are mounted and that helps it re-connect everything nearly instantly.

FWIW.

“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor

[Steve Connor]

[Craig RussillRoy] “Exported a XML, then reimported it back in – BOOM media relinked !!! I deleted the project i imported in from the xml and all is good again
“

Good to know that.

Steve Connor
“FCPX Agitator”
Adrenalin Television

[Matthew Celia]

It seems that as long as the original metadata matches exactly, this should work. However, if the files were modified in any way (say by opening them in an Adobe product) this fails to work.

I’m glad there is at least a re-import “reconnect” for recovering files from a backup – but I still long for some better way to replace the file automatically when I’m roundtripping in various effects programs. I suspect though that over time, this will stop becoming an issue as I figure out new workflows.

—————-
FCP Guru
http://www.fcpguru.com

[Oliver Peters]

[Matthew Celia] “It seems that as long as the original metadata matches exactly”

My guess is that by using the Disk Image workaround, it treats the media much like a Camera Archive and also helps to avoid this problem.

[Matthew Celia] “but I still long for some better way to replace the file automatically when I’m roundtripping in various effects programs.”

This is definitely preventing me from using it on complex RED and ALEXA jobs. There I cut with low-res files with baked-in LUTs and TC viscode. Then replace the finished sequence’s media with the high-res files. Easy in FCP 7 and sort of easy in Premiere Pro, but technically impossible in FCP X. I have, however, been able to “hack” the text of the XML to get it to happen. Not what you’d really want to do, but it does indicate that there is a way to make it happen.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com