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Low res proxies with FCP?
When I first started editing I was on a Media 100 system. They had a feature where you worked with low res proxy files for your full edit and then when it was time to render out a program the proxy files where replaced automatically with the original hi res footage. This was before HiDef!
So is there a workflow to do this with FCP?
What do you need?
How is it done?Thanks
Larry
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6 Replies
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Sure, that’s discussed here all the time Larry. But, buying additional storage and skipping that step is still your best bet. Hard drives are incredibly cheap these days, and the online/offline procedure is really not any more cost effective, because your time is worth more than the hard drive storage.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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FCP manual has the step by step…
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Larry,
I can assure you that the classic “low rez to hi rez” workflow is still alive and well.
We’ve been using it forever, and there are plenty of reasons why it’s the right choice. Unfortunately, there are also plenty of reasons why it’s a pain in patootie. Only you can decide if the benefits outweigh the costs. In our case, with the amount of media we’re dealing with, the number of editors on our team, and the number of multi-camera streams flowing around, the off-line proxy workflow is essential.
There is NO easy way to make this work. You have to pay attention to details. You have to set some hard and fast rules and make sure EVERYONE abides by them. You have to plan for, allocate, and accept the time involved in “reconnecting” from Low to Hi-Rez. It’s NEVER just one click. Something always goes wrong.
If you can accept these realities, then it’s a very helpful workflow. If, like most everyone, you just want an “EASY” button to solve your problems, then this is NOT the way to go.
Good luck.
Mark
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Great advice!
However, what I ran into was using an Imac with 4 gig of ram and a quad processor as a workstation to review footage and prepare for other editors. With a high speed server the imac bogged down and made it hard to review. Of course it was HiDef footage shot on a Canon XF 305 at full quality.So in my case it wasn’t storage space but I/O, true?
Or perhaps there is another issue? It came into FCP as XDCam although it is native Canon, I believe.
Hmm.
Larry
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And, as usual whenever this issue arises, I will agree with Mark and I certainly understand why he uses the online/offline paradigm at Bunim/Murray. However, for the average indie user, I stand by my advice that a cost/benefit analysis typically favors buying additional storage.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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That’s some “Real World” advice!
Steve Eisen
Eisen Video Productions
Vice President
Chicago Final Cut Pro Users Group
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