How to Relink Proxy using Grinder

[Jared Smith]

Okay, so I right clicked on the video line of the proxy edit and did “reconnect media” and pointed it to the original footage. It reconnected and everything lined up perfectly, so that is certainly a good sign, but now the higher res reconnect is much larger in the edit window than the proxy was… I took a photo of the proxy frame edit and then of the reconnected higher res frame and put them on https://www.photobucket.com/thingsforsale
Thanks for any help
jared

[Shane Ross]

Well, you can ask the people at Red Giant…since they showed you the workflow. Doesn’t their video cover it?

Here’s how I do it… using Log and Transfer. Because it assigns unique timecode and a reel number.

https://library.creativecow.net/ross_shane/tapeless_online/1

It might be as simple as taking the proxy clips and relinking to the larger ProRes ones…

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Shane Ross]

This workflow is messy. because now you are linked to the Full Res files, but your sequence is still using the PROXY settings. What you need to do is make the sequence match the settings of the new footage.

The easiest thing to do would be to make a new sequence. Matchframe from one of the high res clips, cut that into the new sequence and click YES when it asks “do you want the settings to match?” Then delete that clip..and copy and paste all of the footage from the old sequence into this new one…and then highlight all the footage again, go to EDIT and select REMOVE ATTRIBUTES. Yes, it is a lot of steps, which is why I think it is highly convoluted.

My way allows you to bring in all the footage as Proxy…NOT full res AND Proxy, but just proxy. Edit with that…and then MEDIA MANAGE to the high res settings, and batch capture ONLY the footage used in the cut…with handles. Take up a lot less space. Plus your footage will have reel numbers (that match back to the CF card backup file), and unique TIME OF DAY timecode…instead of each clip starting at 00:00:00:00. and you can name your clips as you bring them in, and those names will be reflected in the QT files.

Grinder is neat…and it is fast. But offline/online with it is not easy.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Jared Smith]

I will give you video a watch… My company paid for the Magic Bullet Suite which included Grinder so I kinda wanted to use it for the money spent I suppose…
I guess my problem with relinking to the ProRes is that would mean that I have to convert the videos to full ProRes and that kinda defeats the purpose of Proxy and saving hard drive space it seems. I thought I could edit with Proxy and then just relink back to the original, not back to ProRes 422…
thanks for the help

If anyone has used Grinder would still love some help

[Jared Smith]

Thanks Shane… I didn’t read the first post before replying… I will for sure give your video a watch… Did you do it using DSLR footage? I used a t2i for the footage and heard there is a necessary hack of some sort to use the Canon EOS plugin… thoughts?

[Shane Ross]

OK…I didn’t watch the whole video…I now did. I wonder when that video was made. One BAD thing about it is that the footage was 30fps. STRAIGHT UP 30fps. That’s bad for broadcast work. 29.97 is what we need. That fix was brought to the camera well over a year ago. Anyway…

[Jared Smith] “I guess my problem with relinking to the ProRes is that would mean that I have to convert the videos to full ProRes and that kinda defeats the purpose of Proxy and saving hard drive space it seems. “

You misunderstand things too. You ALWAYS convert the DSLR H.264 footage to ProRes for editing. You NEVER match back to the original H.264 files for online. No…never. They are not suited for editing, or color correcting.

And the ProRes PROXY files are full raster 1920×1080…so you don’t need to do my convoluted MAKE A NEW SEQUENCE thing and REMOVE ATTRBUTES. Just open the Sequence SETTINGS and change the COMPRESSOR to match the footage you have.

[Jared Smith] “I thought I could edit with Proxy and then just relink back to the original, not back to ProRes 422…”

No…didn’t you see the video? He said that H.264 is not good for editing. And it is even WORSE for grading. NO, you always have to convert. And this is why I use Log and Transfer…because when I capture the full res footage, it doesn’t take up a lot of space.

[Jared Smith] ” Did you do it using DSLR footage?”

In the demo I didn’t, but the concept is the same. ANYTHING that can be brought in with Log and Transfer will work this way. And I do work with DSLR footage, and have done that before.

[Jared Smith] “I used a t2i for the footage and heard there is a necessary hack of some sort to use the Canon EOS plugin… thoughts?”

Yes…I know of the hack, I have the same camera. The hack can be found here, on my tutorial on how to bring in tapeless footage into FCP – Tapeless Workflow for FCP 7 Tutorial

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Jared Smith]

thanks for the help… i knew that h264 was no good for editing but i thought once all the edits were made you brought the original back in… sorry for misunderstanding… bit aggressive no?

[Jared Smith]

“You misunderstand things too. You ALWAYS convert the DSLR H.264 footage to ProRes for editing. You NEVER match back to the original H.264 files for online. No…never. They are not suited for editing, or color correcting.”

So the idea is to convert everything to Proxy, do the edits, and then once you know which clips made the final edit, those are the clips that you would do the full 422 ProRes conversion to?

That is fine, but quite as speedy as I was expecting…
Okay, enough typing… time to watch Shane’s tutorial…

[Shane Ross]

[Jared Smith] “So the idea is to convert everything to Proxy, do the edits, and then once you know which clips made the final edit, those are the clips that you would do the full 422 ProRes conversion to? “

That’s the idea. And with the Log and Transfer method, you don’t recapture the FULL clips…just the part you used in the cut. SO if you had a 5 min clip, but you only used 10 seconds of it, Media Manager will make it so you only recapture that 10 seconds…with 1 second handles on either side…12 seconds. A LOT less space than 5 min.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def