[Andy Mees]

LT2 and XDB2.1 is available here Kevin :
https://support.sonybiz.ca/esupport/Navigation.do?filetype=Software

[Andy Mees]

Thanks for the update Ian.

Your comment “It does not support XDCAM optical Disc formats at this time” suggests that there could be future traction in that area … are you able to say whether direct support for XDCAM optical media with the PDZK-LT plugin is actively being developed but just not yet sucessfully implemented? Or is this more a “we may or may not consider it after which we may or may not develop it” kind of thing? As someone working with the optical media format, am just trying to read more clearly between those lines 😉

Cheers
Andy

[Andy Mees]

You might want to consider a Decklink UltraStudio 3D instead of the Intensity as the latter is not officially supported for Resolve workflows.

[Andy Mees]

Hi Marcus

Why not just finish the offline / online procedure the traditional way ie create an offline cut using Media Manager then recapture from the original source (using a deck and I/O device) at high res?

Or maybe check out Bouke Vahl’s various XDCAM tools from VideoToolshed, which may offer the missing links for the workflow you’re looking to establish.

Do agree with Shane, you really should have checked all this out before you jumped in :/

Given that your high res media is on a drive in MXF format (and assuming you no longer have the source discs) then you may want to start by rewrapping it in FCP compatible MOV containers (using XDCAM Transfer). Not ideal as you are rewrapping ALL the media rather than just the bits you used, but at least after that you should be able to use Bouke’s FCPreconnect app to relink to the high res as needed.

Hope it helps
Andy

[Andy Mees]

To reduce your rendering needs, try to work in the format which best matches the majority of your footage. That said, you’ll almost certainly want to make sure that your choose working format is an native FCP one … and that you turn on “Unlimited RT” in your timeline RT menu (button at top left of timeline).

Good luck
Andy

[Andy Mees]

If the plugin does not include an installer then you have to do a manual install … it’s very easy. Just place the plugin into one of FCP’s plugin directories:

For an FxScript plugin, put the file in the /Library/Application Support/Final Cut Pro System Support/Plug-ins folder
For an FxPlug plugin, put the file in the /Library/Plug-ins/FxPlug folder

… there are other possible locations, but those are the 2 main ones for regular FCP plugin installs.

Or if you have Jon Chappell’s “Pro Maintenance Tools” application suite then you can use his Plugin Manager utility to handle pretty much all your NLE plugin management needs.
https://www.digitalrebellion.com/promaintenance/

[Andy Mees]

Hello Vineet

You can use the Sony XDCAM EX Log and Transfer plugin to let you import your XDCAM EX footage directly from within FCP’s Log and Transfer interface.

Or you can use either their XDCAM Transfer or XDCAM Browser application to log, select and transfer/ingest the camera footage to your media drive (this will place the selected footage as Quicktime Movie clips at your chosen import location) after which you can import those clips into your FCP project manually, or have it imported directly to the project as part of the transfer.

Hope it helps
Andy

[Andy Mees]

Excellent info, Mark …have you reported this bug to Apple yet? If not, please do.
https://bugreport.apple.com/
https://www.apple.com/feedback/finalcutpro.html

Cheers
Andy

[Andy Mees]

Hi Tony
Is FCPX’s built in automated white balancing not working for you at all?
Reference link is here: https://help.apple.com/finalcutpro/mac/10.0.3/#verbbd363f5

There’s a couple of different scenarios that affect how the color balance analysis and subsequent corrections are made … I’m not sure if its possible to force are reanalysis by one or the other method tho.
https://help.apple.com/finalcutpro/mac/10.0.3/#ver9e1e9aa2

Cheers
Andy

[Andy Mees]

Thanks Ian.