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FCP 10.4.3’s Leave File In Place not working for some MXF OP-1b files
I’m having serious problems with FCP 10.4.3 with its ability to “Leave File In Place” for MXF OP-1b files created with the Varicam 35, LT, HS series. It’s treating the edit ready file as a camera structure. 12-bit AVC Intra 444, & Pro Res 4444 would not leave me leave file in place.
When the Varicam series cameras are set to OP-ATOM, split file w/ spanning capability. I have to perform a file rewrap with FCP 7.0.3 P2 Import plug in, FCP 10.4.3 will let me “Leave File In Place”. This feature actually quite important because it allows the ability to leave the large clips locally on RAID hdds and use the PROXY generated clips on the portable hdd. Those drives maxed out at 5 Tb. With the ability to leave only PROXY on the portable hdd, I can have the entire 14-year documentary media files all in a small hd. Unfortunately, this limits to 10-bit AVC Intra format. I need full 12-bit at times for maximum color fidelity in post and V-Log.
I noticed when I transcode the OP-1b file generated by Varicams in Compressor to Pro Res 4444, it would allow me to “Leave File In Place”. But doing this would not preserve the original time code values. It always reset back to 00h00m01s.
Are there any known workaround, tricks to get the OP-1b files in FCP 10.4.3 to import it and “leave it in place”?
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6 Replies
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Are you using the import window?
If so, bypass it, and drag and drop the mxf files in to the library (as long as leave in place is deleted innyoir import prefs).
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The manual dragging of the OP-1b files (.mov & .mxf fr the Varicams) into Libary seems to work. I’m seeing the proxies files created by the shoot date just like it should from the previous OP-Atom rewrapped .mov files. Thanks for the tip.
The tedious manual work from this method is having to move all of the files from each media (typically 256-512 Gb) per reel and manually create new keywords. However, having 12-bit Pro Res 4444 proxy folder is so critical in this mobile and studio workflow. Can’t fit the entire 12-bit cam original cam files to a tiny 5 Tb USB3 hdd during mobile editing.
This may be an obvious question, but it’s better to record in Apple Pro Res 4444 (OP-1b .mov) vs AVC Intra 444 (OP-1b .mxf) if I have a choice during the shoot right? The Varicams can record Pro Res 4444 & AVC Ultra on the main and sub recorders. Seems like Apple Pro Res 4444 is native to FCP X in the long term vs. Panasonic AVC Ultra family of codecs.
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[Sam Lee] “The tedious manual work from this method is having to move all of the files from each media (typically 256-512 Gb) per reel and manually create new keywords.”
What do you mean by this?
[Sam Lee] “but it’s better to record in Apple Pro Res 4444 (OP-1b .mov) vs AVC Intra 444 (OP-1b .mxf) “
ProRes 4444 is a good choice as along as the rest of the post workflow is cool with it. At this particular time it’s more universal than AVC Ultra. Either way, you’ll be good.
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[Sam Lee] “problems with FCP 10.4.3 with its ability to “Leave File In Place” for MXF OP-1b files created with the Varicam 35, LT, HS series. It’s treating the edit ready file as a camera structure. 12-bit AVC Intra 444, & Pro Res 4444 would not leave me leave file in place….Are there any known workaround, tricks to get the OP-1b files in FCP 10.4.3 to import it and “leave it in place”?”
I suggest you re-wrap them with EditReady before importing in place. The latest version of EditReady supports MXF OP-1b: https://www.divergentmedia.com/editready
In general it’s not a good idea to copy files out of a tree-oriented format. In some specific cases we know this works with no apparent problems such as XAVC-S. In other cases it definitely causes problems such as AVCHD. In yet other cases we just don’t know. The risk is it might initially look and behave OK, but only later you discover something in the discarded metadata files is needed, e.g, for clip spanning, color space management, etc.
Supposedly EditReady reads the metadata and folds all that into the resultant re-wrapped files, which can be imported with “leave files in place”. The re-wrap is essentially pass through from a codec standpoint, so it’s very fast.
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I typically have FCP X automatically create keywords from the reel folder. However, the current OP-1b directory structure doesn’t allow that automatic keywords creation during import by dragging. It just imports in file names and ignore the folder name of the reel.
The Varicams have the ability to record on both recorders different frame rates and codecs. The Cine file format in the firmware forces the file name to be exact. So for the main recorder, I have it as Pro Res 4444@60 fps. There are times where I push it up to 240 fps as well. The sub recorder is at standard AVC Intra 100 or Pro Res 422@29.97 fps. During import, the keywords are used to easily separate which one is which without having to go to info and get the codec and frame rate info. This workflow allows great flexibility to use the standard frame and slow motion frame rates.
Fortunately, FCP X is smart enough to add a (1) in the proxy folder (example: 2018-08-24, 2018-08-24 (1) to the duplicate cine file names on both recorders.
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I’ll give Edit Ready a try to see how well it handles 12-bit video and other formats. Likely won’t need it as much because OP-1b is ready to import and edit in FCP X. However, OP-Atom from P2 cams will need rewrapping, especially when the cards are spanned. If Edit Ready performs the same or better than FCP 7.0.3’s built-in P2 Import Plug in, it’ll be a huge help. Currently I have to have 2 different OSes (OS Sierra for FCP 7, High Sierra for 10.4.3) and boot it separately. FCP 7 will not work on High Sierra OS, but FCP 10.4.3 needs High Sierra OS to run.
The reason why I want to be able to directly import OP-1b files is the rich metadata. GPS coordinate, WB, ND filters, f/stop, zoom ratio, frame rate, shutter angles, serial #s, etc.. are all recorded. Plus data management is much easier by keeping a single camera original media only. No need to have the transcoded version.
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