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FCPX metadata–how significant is it? And why?
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I hear you on that part, and thanks for the link with larry.
His example is
USING THE FIND COMMAND
The Find command (Edit > Find) is a very valuable tool when you are looking for something in a sequence.
For instance, type Command+F (Edit > Find) and enter the name of a clip.That talks about the sequence.
I can find clips with the finder no problem and effects like you said.
I was kinda of talking about markers on a clip that has not been put into the sequence yet.
Let’s say I have not decided I want a part of the interview in yet?
I’m looking for one word in a marker in a clip sitting in a bin (event)
See what I mean? It’s a small difference but others have asked me about it also. I had to try to work with it to find if X could do it (it can)
I have to admit I was not used to working that way and when this guy was asking me about it I was like Huh?
I see what he wanted now. It’s just not the way I worked before but now I like it.
If you have an example of finding a word in a marker in a clip in a bin, I will show it to him.
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I assume if you have a capture card, you have a monitor.
[Walter Soyka] “I pulled a Kona out of a machine just for Resolve.”
I think you just proved my point!
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Really nice post, Jeremy. P2flow and Pomfort look really excellent.
I agree with you that the concept of reel ID is outdated, and it ought to be replaced with a far more extensive set of meaningful and standardized metadata from the shoot.
However, today, reel ID is still important (though not always meaningful) across many workflows.
[Jeremy Garchow] “I do think it’s locked in some sort of weird state of flux.”
This is a recurring theme in my frustration with FCPX. Apple made a clean break from existing technologies and standards to focus on their vision of what post production ought to look like.
Unfortunately, back in the real world, we still have to deal with these technologies and standards — and the workflows that support them.
Apple can’t just declare things like EDLs and reel IDs big bags of hurt, ignore them (even if they offer new alternatives like FCPXML), and still keep their market share and mind share. If Apple is not interested in designing for their users’ needs, then either the industry will have to adjust their work needs to suit the product, or the industry will move on to products that suit their work needs.
Flux hurts.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
Oliver Peters on Nov 16, 2011 at 8:51:10 pm
Unfortunately at this point, when trying to actually use it on projects for real clients, it hasn’t performed as well as FCP7 based on the one criteria that it should – better performance based on a 64-bit architecture.
I think it is very important that this issue comes out into the open. There are some very serious question marks of FCPX and its ability to deliver performance mnsot particularly when it comes to rendering, and m ost especially when it’s a question of rendering Motion 5 effects.
Here’s a very good post from Timothy Payton (on another forum) that illustrates where some of the problems lie:
https://fcp.co/forum/4-final-cut-pro-x-fcpx/2175-looking-for-a-reason-to-actually-render-in-fcp-x
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Simon Ubsdell] “Here’s a very good post from Timothy Payton (on another forum) that illustrates where some of the problems “
Yes, I’ve actually been doing that – using the export as the render. The trouble with doing that is your project is still not rendered. So if you have to make any changes, you are back to the same slow, unrendered sequence.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Jeremy Garchow] “Those two clips which are identical may or may not have a relationship to the clip in the timeline. It depends on which one you used. I personally think FCPX is way more highly flexible in this regard. I don’t have to keep track of two clips. “
I guess I just don’t see the value of that. I can’t think of a real world case where it would matter to me, or why it would shorten anything–certainly not in what I do, though I’m of course willing to entertain that there are more things in editorial than are dreamt of in my philosophy.
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[Chris Harlan] “Bill, you totally misunderstand me. The whole reason I started this thread, and others like it, is that I DO want to know what is better or interesting about FCP X. I AM curious about such things. You don’t need to defend your preference for FCP X to me. I think I’ve told you on a couple of occasions that I think it is a good tool for you. AND for many others. I don’t begrudge anyone using it. In fact, I’m intrigued by it. So, I’m just trying to see it for what it is. I think you’ll find in my reply to Jeremy in this thread, that he made me see–and agree to–his POV on several counts. I think you’ll find, if you look across many of my replies, a similar pattern.
“Fair enough, Chris.
I still finding myself occasionally getting weary of “defending” X against the onslaught of those who imply the since it don’t work for them, then its dreck for everybody.
Those kind of “blanket” statements were much more common in the early days – when nearly everyone was confused by it’s singular differences and translated that into plenty of “but it doesn’t do (feature)” only for all of us to discover time and time again that, well, yes it did (feature), just differently than we were previously accustomed to. Case in point is everyone who yelled initially about the “single window” approach, before we understood that you can do virtually everything that was once done in the Viewer (albeit with some singular reservations like full-screen color correcion) in the Event Browser (and a whole lot more besides!)
Those who take it to task and follow up with the REASONING behind their positions have my respect and I try to be careful NEVER to belittle their opinions, since they may very well know a lot more than I do and have viable contextural reasons why it fails to meet their needs.
My occasional crabbiness in the context of a broad/stroke naysayer is MY issue, not anyone else’s.
And I’m working on it.
Be patient with me, please.
“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
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[Chris Harlan] “Dude! I totally see where you are coming from in this.”
A huge weight has been lifted. I’m glad I posted those pics as this has all been making huge sense to me, but I have to remember that not everyone is used to a metadata centric workflow. Thank you.
[Chris Harlan] “Looking at what you’ve got going here, makes me see your POV a whole new way. Just curious–did Final Cut Server not deliver for you? “
This was before Final Cut Server, and that wasn’t in the cards for us at the time as to get it done right, you needed some serious hardware.
We now have a SAN which would benefit from a catalog system. We are looking at CatDV, but the jury is still out. CatDV does have the advantage that is works with MXF components (like MXF4mac which we use).
With Lion and FCPX, these MXF components don’t work anymore so we have to sit tight for a little while longer and see what shakes out.
[Chris Harlan] “Also, can you call up those GPS points in FCP X? I think that would be terrific for location scouting.”
The GPS requires a chip on the camera, and the camera has to have the capability. We don’t have it, I just put in there to show where those fields come from. I know that it gets recorded as a tc stream of sorts and conforms to SMPTE’s UMID. I think it would be really handy for reality shows, big ones that have many locations, or news of course. The “Search Google Maps” button is fun. Here it is for certain Panasonic cameras:
https://panasonic.com/business/professional-video-accessories/aj-gps910g.asp
Yes. FCPX has this location data in it, and it comes from the P2 XML in the case of P2 Footage.
I should add that all of this metadata is Spotlight searchable as well as the P2 metadata exists in text files that are attached to the footage. I really like the P2 format, it’s pretty amazing and powerful if you crack it open.
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[Chris Harlan] “Dude! I totally see where you are coming from in this.”
A huge weight has been lifted. I’m glad I posted those pics as this has all been making huge sense to me, but I have to remember that not everyone is used to a metadata centric workflow. Thank you.
[Chris Harlan] “Looking at what you’ve got going here, makes me see your POV a whole new way. Just curious–did Final Cut Server not deliver for you? “
This was before Final Cut Server, and that wasn’t in the cards for us at the time as to get it done right, you needed some serious hardware.
We now have a SAN which would benefit from a catalog system. We are looking at CatDV, but the jury is still out. CatDV does have the advantage that is works with MXF components (like MXF4mac which we use).
With Lion and FCPX, these MXF components don’t work anymore so we have to sit tight for a little while longer and see what shakes out.
[Chris Harlan] “Also, can you call up those GPS points in FCP X? I think that would be terrific for location scouting.”
The GPS requires a chip on the camera, and the camera has to have the capability. We don’t have it, I just put in there to show where those fields come from. I know that it gets recorded as a tc stream of sorts and conforms to SMPTE’s UMID. I think it would be really handy for reality shows, big ones that have many locations, or news of course. The “Search Google Maps” button is fun. Here it is for certain Panasonic cameras:
https://panasonic.com/business/professional-video-accessories/aj-gps910g.asp
Yes. FCPX has this location data in it, and it comes from the P2 XML in the case of P2 Footage.
I should add that all of this metadata is Spotlight searchable as well as the P2 metadata exists in text files that are attached to the footage. I really like the P2 format, it’s pretty amazing and powerful if you bust it open.
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Oliver Peters on Nov 16, 2011 at 9:19:29 pm
Yes, I’ve actually been doing that – using the export as the render. The trouble with doing that is your project is still not rendered. So if you have to make any changes, you are back to the same slow, unrendered sequence.
Yes, indeed, this was a huge problem for me in the job I was doing last week (as I know it was on your job as well).
The only option was a monumentally slow render of the current project – and all its variants (why do clients insist on changes?) – just in order to be able to play the timeline at all.
Rendering is shockingly slow, there’s no two ways about it …
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com
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