[Alex Udell]

ProRes is an excellent point Vince. I should have thought of that.

Alex

[Alex Udell]

ok…

definitely read this one:

https://www.dvxuser.com/jason/P2-Name-article/

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

take a gander thru this:

https://www.dvxuser.com/jason/P2-Name-article/

and then this:

https://pro-av.panasonic.net/en/sales_o/p2/p2viewer/index.html

Alex

[Alex Udell]

Well…I’ll only say that for the most part you’ll live in the adobe interfaces….so whatever it’s sitting on top of is not so important.

And it sounds like you’ll have plenty of other windows folks around you to show you short cuts…

So really i doubt you’ll have too much trouble….

Alex

[Alex Udell]

Tim…you can touch the the original metadata…

just not with PPro..and that metadata does not make the file name editable, but there is a username field within…

Alex

[Alex Udell]

A quick search on google again results in that while many people like yourself ask this question….the answers remain the same.

Native MXF files are named this way and dependent on the structure for a lot of complex reasons most notably to create a situation in which, when large amounts of material is acquired, you don’t end up with name collisions. I know most users don’t care so it seems silly. To a certain extent, I agree.

So you really have 3 choices:

1) Get out of native MXF via a true transcode, then you can name the file whatever you want. But you lose metadata you might want and this is slow.

2) Use something like Raylight to create Pointing Continer clips. This is faster, you can option use and maintain the MXF metadata in your pipeline, you can give the pointer files meaningful names so OS search is easier, but you still have to maintain the folder stuctures, and you may still need to transcode for hand off to other artists or OS’s or apps that aren’t friendly to it.

3) Look at something like CATDV, an media asset manager that sits on top of the OS and gives you a useful way to make use of the metadata of MXF plus any other way you want to tag your media, search it, and make selection sets for use in your editor.

That’s really the state of things at this point as far as I can tell.

Alex

MXF created by engineers for engineers 🙂

[Alex Udell]

Raylight does have tools for Windows as well.

Technically if you mount a P2 Card.

use Premiere Pro’s media Browser to import only the clips you want into a Ppro project.

then use Premiere’s Project Manager to make a copy of that project to a new location. You end up with a P2 set that only contains the files you wanted to keep (as opposed to everything) that was originally on the card.

This doesn’t handle the file naming though.

Alex

[Alex Udell]

Hi,

the reason you can do that in FCP is precisely because it transcodes to a new separate file that is no longer of the MXF specification and no longer dependent on that folder structure and metadata. So it becomes just another OS file.

Based on your query I did some reading about MXF (again to remind myself about it). Suffice it to say, renaming files based on this structured media for use in any platform or app is not a simple process.

BUT

I think I have what may be a workable solution for you.

I’ll assume for the moment that you are working on a Mac because you talk about coming from FCP.

Take a look at this youtube clip re: Raylight for Mac

https://www.youtube.com/watch?v=-S6VMlLuiNc&feature=player_embedded

1) Backup P2 Card to your your mac
2) Use Panasonics’s P2 CMS software to edit P2 Metadata (like “User Clip name” for example
3) then you use Raylight for Mac to Create Quicktime link files that point to the MXF. From what I gather, these file names will be based on your metadata editing. So you end up with usable meaningful searchable clip names from OS standpoint.
4) From there You OUGHT, and I say OUGHT cause I haven’t tested it, to simply drag and drop into PPro and edit with these Link files (that point to the original MXF media). But then you’ll have useful info in PPro as well.

So what this does is makes your MXF based material more accessable, and searchable at the OS level and initially in the Project Panel of PPro.

What this does NOT do is alleviate the need to maintain the MXF folder structure for which these pointing files are still dependent.

It also does not answer Migrating files other OS’s, or Managing the folder structures, but it looks like Raylight may have some tools for that on their site as well (mentioned in the youtube clip).

And at the end of the day….if you want that level of ease of file migration….then really you’re probably looking at a true transcode anyway in which it will no longer be necessary to maintain the underlying MXF folder structure, but then…that’s not native editing.

hope that helps some….

(and no…I don’t work for DVFilm) 🙂 )

Alex Udell
Editing, Motion Graphics, and Visual FX

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[Alex Udell]

Hey Jim…

If you copy and paste that title in the sequence to whatever location you want to use it (even on another sequence)…

then go back to your project panel…

Find your title clip

Copy and paste it in the project panel…

rename it…

then open it and edit it in the titler.

Now you can take the new title from the project panel…

Hold alt (option on mac) and drag it to your sequence to the pasted title….

this will replace the title with the updated version, but retain all fx and transitions you had previously applied…

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

Hi Erik,

As far as the nesting with Audio Effects goes….

here’s my guess…

Audio Mixing in PPro can be in either clip mode or track mode.
If your losing your mix and effects….it may be that you did the following combo:

1) You Did your mix/fx in track mode: this means automation is attached to the sequence, not the clips
2) If you then chose to “nest” those elements from the timeline itself, then PPro pushed the clips to a subordinate timeline, thus the mix did not move with the clips. This mix may still be on the parent timeline.

Perhaps if you try it this way:

1) in the project panel, make a new sequence (Matching format)
2) Drag your edited sequence onto that timeline. In this way you mix should now be nested on the new timeline, and still full editable on your subordinate (original) timeline.

I know it seems like a subtle workflow difference….but hopefully my explanation helps clear up why that happens.

Regarding rendering time….

The building of final output from previews is architecturally not the same as what you think of with FCP.

FCP is based on Quicktime and since it’s renders are also quicktime, they can rapidly be assembled, especially if there is no change in codec.

Adobe’s native technology is codec agnostic and not built on a quicktime foundation.
So even material previously calculated into a rendered file will to at least need to be decoded into some “raw” intermediate frame and passed on to the destination file. At least that’s my understanding.

So while it may be more rapid than having to recalculate all your fx, it’s likley not going to be as rapid as the pasting of previously rendered material in the way that FCP handles it. At least that’s the way I understand it anyway.

Hope you find that helpful…