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Force relink
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[Chris Frantz] “You could just have easily started with your master clip in a compound clip. If you start your workflow with that you should be able to swap your master at anytime without even relinking and it would ripple down.”
Yes, I am familiar with this workflow too – however, we are handing off between different editing applications (this is necessary to us, so it can’t be discounted from the equation) and not necessarily starting in FCP X every time, so this is again not the ideal solution.
Believe me, it’s not as though I haven’t worked through these problems in FCP X – I use it all the time despite the workarounds that I need to implement. The bottom line is that force relink would make a huge difference to our ability to use FCP X within our business.
Simon Ubsdell
tokyo-uk.com -
Thank goodness Resolve also has smart force conform based on TC. I have heaps of shots in a doco where archive was cut in and then media consolidated and an AAF from Avid.
I went back to the archive, reconverted and deinterlaced and was able to quickly force conform about forty shots which had no naming reference to the original archive. Without that each shot would have to have been manually cut back in.
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[Michael Gissing] “Thank goodness Resolve also has smart force conform based on TC.”
The beauty of the Resolve force conform method is that different clips from one source in the timeline can be conformed to different new media – in other words you’re not relinking the a single source clip globally to a new source, you’re doing it within the context of the timeline instances. It’s an amazingly powerful option.
Simon Ubsdell
tokyo-uk.com -
[Simon Ubsdell] “you’re doing it within the context of the timeline instances. It’s an amazingly powerful option.”
Hmph. Timelines. If you’re into that sort of thing.
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[Chris Frantz] “You could just have easily started with your master clip in a compound clip. If you start your workflow with that you should be able to swap your master at anytime without even relinking and it would ripple down.
“I just wanted to point out to anyone who is thinking of using this method that the preferred way of doing it is with a multicam clip – not a compound clip – for reasons which I am sure will be obvious.
Simon Ubsdell
tokyo-uk.com -
Consider them not obvious to some I guess, because I just finished a doc using about 23 clips wrapped in compounds without any issue. Granted it was finished in FCPX, but if I’m not taking it to Resolve then what’s the issue? I’ve also read workflow studies where they recommended this very same method using compound clips.
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I didn’t say you couldn’t do it, I said that multicam is the “preferred” route. If you think through the implications of what functionality you have with MC versus CC, I think you’ll understand what I’m saying.
Simon Ubsdell
tokyo-uk.com -
Hint: It rhymes with sink
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If there are limitations they don’t seem to be applying to our workflow 🙂
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[Shawn Miller] “As a long time AE user, I know exactly what you mean! I hope Apple fixes this soon. :-)”
After hours and hours, I think I have figured out a viable solution with DaVinci Resolve that is much better than Pr.
It’s not without it’s quirks, but it is much better.
Now that I have this all figured out, Apple will release some sort of update that invalidates my trials, tribulations, and subsequent victory.
Bring it on, I say.
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