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Film workflow ideas
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Not sure of the positives or negatives of creating proxies in RCXP and matching back to the R3Ds for color, so I can’t add to the conversation there.
Disclaimer- I haven’t taken a full project from X to Resolve, so I don’t know of the pitfalls. I’ve just tested it out in short test sequences to see if it would port over to Resolve. It seemed to work just fine. But those sequences were very simple. My guess (and hope) is that Resolve 10 will be even better at importing X timelines.
My understanding is that the plus side of letting FCP deal with it is for the sake of simplicity. Import the files, let FCP do the transcode while you’re working or at night. Switch to proxy mode to work. When you’re done, switch back and export an FCPXML to Resolve. You can also edit the RMD raw data in FCP if you choose.
To save on drive space, one trick you could do is to uncheck Copy Files to FC Events Folder. You could import the R3Ds from an external drive, perform the proxy transcodes – which always default to placing the files in your event (you can’t change their location outside of the event you are working from). When that’s all done, switch to proxy mode. You should be able to then unmount the R3D media drive and be good to go.
When you’re ready to conform, just re-mount the drives with the files in their original directories and switch back to original media in FCP X. As I’m sure you know, test test test, then proceed with caution ;).
Michael Garber
5th Wall – a post production company
Blog: GARBERSHOP
My Moviola Webinar on Cutting News in FCP X -
My thoughts about using RCX as the prep/conform system is that if you do want to bail from FCPX, you can do so fairly easily, with everything already in sync.
Jeremy
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Hey there Oliver. I’m editing a feature right now in FCPX on a retina MBP. So I am not having performance issues, but I think maybe you could try loading a ton of media and running some tests. And I would highly recommend keeping the RED files on a seperate drive that you can unmount when you are editing with proxies.
In general you should definitely try to work within FCPX for everything. The work arounds never work.
For example, you are going to have a really hard to time adding HQ audio in half way through the edit. There’s no easy way to do this automatically. Will be a manual process. By hunch is you will not see much of a performance decline working with synch’d clips.
As far as events workflow….I find that you are much better working with as few events as possible. Inevitably clips from one reel need to edit together with clips from another reel. Plus your keywords are event specific and if you get deep into keywording it really helps conceptualize the edit.
I’ve dealt with a million headaches over last 6 months and am wiser for it now and really loving X.
j
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Hi Oliver.
Get as much RAM as possible. And a new and good GFX card… FCPX will use it a lot, and DaVinci will also.
About audio, XtoPro will give you enough over to either ProTools or Nuendo, both works fine.
FCPX main feature is metadata (keywording), such a blessing.
Just try to use a ref.mic for audio on all cameras for easy sync, and you should be up and running.
Also a good RAID.Helge
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Hi Oliver,
I’m in the same dilemma than you, just having a stronger computer. What did you decide to do? I’m curious to hear.
Greetings,
Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang -
[Sascha Engel] “What did you decide to do? “
It’s not a simple choice as this is a school that I also work with in an advisory capacity, plus run an annual editing workshop and participate as a working pro on some of the films that have been produced as part of the program. Any purchasing decision I make should benefit the program and not just this single project.
They currently have FCP7 and ideally I would have liked them to end up with PProCC, Avid MC7 and FCP X. In total, this would give them the best overall options. In evaluating the needs, Creative Cloud was ruled out because the way the purchasing process changes, because of the subscription model, means that the decision won’t happen in time for this production. That leaves Avid and FCP X.
With the attractive EDU pricing for Avid, it puts X and MC on relatively even footing price-wise. Since I’m at the beginning of their fiscal year (when the money is still available) I have been able to proceed on both fronts – FCP X and Avid MC. Plus the extra utilities required for an X workflow. My intention is to cut the film in X. If things go horribly wrong I have FCP 7 and/or MC 7 to fall back on. Both would be solid options.
My rationale in choosing X is that most of the work has to be done in-house, which means I have to train students as assistants. X offers the easiest integrated solution for RED footage (the format of this shoot), plus I have an easy way to do 2K if the director/client feels the need for that. Honestly, I’ve flip-flopped a couple of times before settling on X. At this point, I am crossing my fingers that it was the right choice.
I have also bumped up the hardware on the editor and assistant stations by bringing the RAM to 32GB and replacing the boot drive with an SSD.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Great, could I knock on your door in case I have some Workflow Qs?
Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang -
[Sascha Engel] “Great, could I knock on your door in case I have some Workflow Qs?”
Sure. When I get done in a few months, I’ll have a blog post about the film and the process.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Well, I get the material in 2 days, so I might knock on your door already then 🙂
Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang -
e-mail me off-list if you need to:
oliverpeters (at) oliverpeters (dot) com– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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