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Metadata and keywords
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No…it was a really stupid thing, because I didn’t carefully read your post…nor did I notice which forum I was writing in…coffee deficit…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
[Oliver Peters] “Me neither. I always convert to an edit friendly format first – either externally or via FCP 7 L&T. I currently do not like, nor trust the FCP X “import from camera card” methods.”
Oliver, what do you not trust about FCPX import? (I’ve been working native almost exclusively, with the occasional post-import transcode, and have not had any issues so far.)
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I’m on a 1 year project for 6 month now.
Here’s is how I approach things. (We shoot tapeless)
I tag every clip as if I would archive it and prepare for online searches. Same as if you would go to a stock library and look for cats in town A at sunset.
After I have done this I favourite select ranges within the clips of action I like. Basically the same as making a select reel in the old days. I also use the ‘reject’ range to mark clips which I think are unusable. Using both you can very nicely filter your clip view by ‘hide reject’ or ‘show favourites’.
I also create a keyword +++ which I use to range mark sections I definitely need/want to useI approach the edit starting by doing each event separately using Event Manager (must buy software until Apple builds it in) to show and hide what I need.
Each edit for a given event goes into a project with the same name (versions are named v1 to whatever) which I can group into folder if I have more than one edit per event.In the end I will open all events and projects together and combine the lot.
So far this method kept performance at a nice level as I don’t have everything open all the time. FCPx slows down with the increase of amount of clips being online. I also have my footage ready for archive later because it is already tagged in a way which will make it usable in other films. I also will be able to sift through the final master and highlight all e.g. 720p or whatever (because they need a different post pass) shots because I tagged them thoroughly before I started editing. Might be boring up front but I know that I will love myself when it comes to the end 🙂
One important thing to remember: Nothing is fixed! You can change any keyword, any range, anything all the time. Only thing to remember is that any update at event level doesn’t ripple through for a specific clip once that clip is placed into a project. This is how it should be because if a clip is used in several projects you might not want the change to appear in all of them. But I wish that Apple would think about options to talk backwards under user control 🙂
Happy editing.
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[James Culbertson] “Oliver, what do you not trust about FCPX import? (I’ve been working native almost exclusively, with the occasional post-import transcode, and have not had any issues so far.)”
Trust might be too strong. Here are my reasons why I don’t like it:
1) I rarely work natively, because I often have to pass off media to other applications and/or other facilities. There is no guarantee that they can read these codecs. ProRes is a nice, common format these days.
2) Many native formats are real drags on performance. H264 from HDSLRs or MP4s from GoPros, for instance. Or native R3D from RED cameras.
3) Many native codecs are not transcoded to ProRes, because FCP X already sees them as optimized. This conflicts with item 1.
4) I do not like the way FCP X renames ingested camera files. I want the transcode to allow me to rename media in some logical fashion and X doesn’t do that. FCP 7 does.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Makes sense Oliver. Is there a way to send transcoded source rather than the original source to other apps or facilities?
What do you think of FCPX’s “Apply Custom Name” functionality?
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[James Culbertson] “Makes sense Oliver. Is there a way to send transcoded source rather than the original source to other apps or facilities?”
I think the way FCP X works is that there are either original or transcoded files. I haven’t tested this, but I presume that there are still links to the originals, in case you need to retranscode. In any case, if your files are transcoded to ProRes, then yes, you can send these to the facility. If they are only rewrapped, then you are sending a file that is MOV, but with the native codec. For example, Canon XF files are NOT transcoded, as X sees these as already optimized. If so, then the facility needs to be able to read the same XF codec wrapped inside an MOV container. That’s not always a given.
[James Culbertson] “What do you think of FCPX’s “Apply Custom Name” functionality?”
If you mean renaming master clips, then I think it’s OK. I personally don’t use it for now, but I don’t have any issue with how it works. My main complaint is how naming works when you ingest camera media. That’s because I don’t have control over the name of the newly generated media file at the time it is created. I can then rename the master clips, but not the media file itself. Apple has basically copied the Avid approach to this instead of expand upon what was already there in FCP 7.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I’m with you on all of those reasons. Also, I don’t trust any NLE to do the right thing in up/down/cross/(don’t mention standards) conversions. Your bound to get some mixed media in your project. I prefer doing that conversion outside the app.
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
Howard TV!/Movies On Demand/iNDEMAND Pay-Per-View/iNDEMAND 3D
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