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Offline-online workflow
Here’s the scenario. The camera masters are PR4444 LogC Alexa files. I have externally generated “edit proxies” – PR LT w/LUT & TC burn. Both sets of files have matching file names, TC and reel numbers. I would like to cut with the “proxies” and then replace these for finishing with the PR4444 files. In FCP 7 (and Premiere Pro) I would reconnect from one set of MOVs to the other.
Yes, I know how to use the proxy function in FCP X, but that’s not what I want to do here. I realize you can’t manually reconnect media in FCP X, but is there any sort of workaround to accomplish this? Has anyone had luck in doing this? Thanks and Happy New Year!
– Oliver
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10 Replies
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Unfortunately, no. Fcpx is closed off in this regard.
Since everythung is so uuid based, the one way I could see this happening is to replace proxy uuid with full res uuid in an XML, and then send a new XML back to X I have no idea if that’s even possible, and you certainly can’t do it in fcpx.
Also, Resolve is the closest thing to showing that something like this can be done. You would need an XML exchanger.
I tried CatDV to do something similar to this, but it wasn’t working well as it would come back to fcpx incorrectly. It did show it was connected to the new media, it just wouldn’t show up in X.
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I could certainly use Xto7 and move to FCP 7 or PPro and then relink to the full-res files. I was just trying to figure out a viable way to stay in FCP X without going around the horn to do it 😉 Hopefully the Q1 update will include some reconnection function.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Hopefully the Q1 update will include some reconnection function.”
Sorely needed.
As of now, I don’t think there’s anyway to stay in X and do this.
Happy New Year!
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[Oliver Peters] “I could certainly use Xto7 and move to FCP 7 or PPro and then relink to the full-res files.”
Just to verify. I did test this and it works well. Cut FCP X and finish in either FCP 7 or PPro CS55, using Xto7 as the XML translator. PPro is a bit “smarter” with media mgmt than FCP 7, so you have to trick it. In order to reconnect to the cam orig PR4444 files, you have to “make offline” in PPro and then rename the folder with the edit-proxy clips to “hide” them. Then relink media to the PR4444 files.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
We’ve done a bit of experimenting with the basic xml export in FCPX. By simply changing the file name and path of the files in the xml we’ve been able to move media onto the timeline. The only thing that is missing is a an xml export that completely represents the FCPX timeline minus any “spinning plates” like auditions.
We’ve formally requested this along with the ability to select which metadata fields, from the long list supported by FCPX, are exported in the xml. We’ve also requested that the embedded QT “reel” metadata be read by FCPX which currently isn’t.
It’s frustrating having to sell Apple on their own tech.
John Heagy
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[John Heagy] “By simply changing the file name and path of the files in the xml we’ve been able to move media onto the timeline.”
I’m curious what you are doing. When I tried that, nothing changed, because the UID wasn’t altered and there is no way of artificially creating a UID. What I did was cut with low-res files. Export an FCP XML. Alter the path name to the location of the high-res files. Import the altered FCP XML. The resulting project was still linked to the low-res files.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “I’m curious what you are doing.”
I’ll have to get back to you with specifics as a colleague did the modification. I do know it was linked media and did work despite the uid. I was a bit surprised it worked too.
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[Oliver Peters] “I’m curious what you are doing. When I tried that, nothing changed, because the UID wasn’t altered and there is no way of artificially creating a UID”
That’s what I was getting at. You’d need to get the uuids from the high res files, and match/replace those in the XML as everything else (reel/tc) should be the same.
As far as I know, fcpx is not too concerned with path, but more the uuid which is what makes relinking so tough when something gets rendered over from an outside app, for example.
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[Oliver Peters] “I’m curious what you are doing.”
Just talked to my colleague… delete the original uid. I suspect that changing the path and leaving the uid means that FCPX will simply look for the uid in the event folder media and link to it. Without the uid FCPX has no choice but to respect the path.
I’m going to play around with this today and also try multiple FCPX seats accessing media on our Xsan.
John Heagy
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[John Heagy] “delete the original uid. …Without the uid FCPX has no choice but to respect the path.”
Yes, I tested this today and it works. Delete the asset UID and change the folder path to the full-res media. If you have none of the full-res media in the original event folder with the edit proxies, then the XML will pull the clips from the sequence into that event. You will have duplicate files (assuming you used the same name) in the event folder for those clips that show up in the timeline (project). Probably easily changed by making some other tweaks in the XML to change the default event association.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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