[Chad Greene]

Could you use another program to sync specific library files/folders to Drive? I use GoodSync all the time at work for syncing. https://www.goodsync.com/

I love the idea of syncing the Proxy folder and the events/project databases this way. Not sure if it would work, but it sounds quite cool.

Chad Greene Mahoney Media Group Minneapolis, Minnesota 2×2.66 GHz 6-Core Intel Xeon, 12GB Ram, OS 10.6 FCP 7, Kona-LHi

[Chad Greene]

[Jeremy Garchow] “It’s just the Project that has the ID NOT the media.”

Ah that is much better. Cool I think we can handle that.

[Jeremy Garchow] “He starts an Event and Project. He sends you that Event and Project”

Does Spain have to start the project and event or can I start those and prep everything since he doesn’t have any experience?

Chad Greene Mahoney Media Group Minneapolis, Minnesota 2×2.66 GHz 6-Core Intel Xeon, 12GB Ram, OS 10.6 FCP 7, Kona-LHi

[Chad Greene]

[Jeremy Garchow] “You should duplicate the Project and send the dupe. This will prevent ID conflicts.”

I really don’t want to resend the event media to him. It took forever to get there and involved bribing. I will have to do some testing with relinking to Finder Copied media. I am hoping he can relink to the original exports even though they have different IDs.

Thanks for your help Jeremy.

Chad Greene Mahoney Media Group Minneapolis, Minnesota 2×2.66 GHz 6-Core Intel Xeon, 12GB Ram, OS 10.6 FCP 7, Kona-LHi

[Chad Greene]

So the offline editor wouldn’t need to import anything? What about proxies and such?

When I send the Event/Projects databases I am assuming they are quite small? He lives on a mountain and has really slow internet.

Chad Greene Mahoney Media Group Minneapolis, Minnesota 2×2.66 GHz 6-Core Intel Xeon, 12GB Ram, OS 10.6 FCP 7, Kona-LHi

[Chad Greene]

I have cut three projects in FCPX – about 60 hours total. However, my offline editor has never touched it so I need to keep things simple.

The media is all HDV exports. Originally I used PluralEyes to sync the five cameras, then exported each back out as five clean Quicktimes.

What would happen if we started from scratch…each importing these files on our own continents. Could I rebuild the multiclips, then send him my databases for editing? If we each imported the media, would my project link up to his media?

Chad Greene Mahoney Media Group Minneapolis, Minnesota 2×2.66 GHz 6-Core Intel Xeon, 12GB Ram, OS 10.6 FCP 7, Kona-LHi

[Chad Greene]

Jeremy, so far we have not moved the project to X. That is the part I need clarification on.

It was built in 7, I sent it to him organized for 7, and now we need to move it to X without resending anything, and with the ability to share edits.

Chad Greene Mahoney Media Group Minneapolis, Minnesota 2×2.66 GHz 6-Core Intel Xeon, 12GB Ram, OS 10.6 FCP 7, Kona-LHi

[Chad Greene]

I find it so interesting that there is so much variety in terms like these. Thanks everyone for your feedback. I think I won the debate. 🙂

Chad Greene Mahoney Media Group Minneapolis, Minnesota 2×2.66 GHz 6-Core Intel Xeon, 12GB Ram, OS 10.6 FCP 7, Kona-LHi

[Chad Greene]

Shane, we are working off shared storage. All the footage is organized and keyworded in folders.

We have been toying with the idea of making separate projects for each section of the doc and using versions to track the changes (very simular to your suggestion). However, the transitions between sections are not clean. The music continues or picture continues which makes it hard to find a good break point.

Are there other ways to deal with this? How about having a master project that the head editor works out of, then having “assistant projects” that we throw sequences into when they need work? How would this work?

.

Chad Greene Mahoney Media Group Minneapolis, Minnesota 2×2.66 GHz 6-Core Intel Xeon, 12GB Ram, OS 10.6 FCP 7, Kona-LHi

[Chad Greene]

Annette, don’t feel bad. P2 is a complicated workflow and it takes a few times through it to feel comfortable. Now, if I understand you correctly, here is what I would do:

• Buy HDLog Bronze
• Import your P2 into HDLog.
• Select Export and…
• Select “Final Cut Pro XML” and set as “self contained movies”
– this will take a while to transcode, but because you are handing the footage to a number of people, it will be safer.

• Before hitting the Export button, check the fields to be sure your metadata is going into the FCP field you want it in.
• Be sure to set “Name Quicktime Movie as” to “User Clip Name”
• NOW hit Export.

I have included a photo so this will be more clear.

Chad Greene Mahoney Media Group Minneapolis, Minnesota 2x3GHz Quad-Core, 4GB Ram, OS 10.4 FCP 6, Kona-LH

[Chad Greene]

[Jeremy Garchow] “with MXF4Mac I know that the metadata will be in tact (including timecode…”

[Jeremy Garchow] “…for DVCPro HD there’s no transcoding. It is very nice. And like you said, if you work with separate audio, it really starts to become a necessity almost. “

Jeremy, can you explain two things for me? In your post you commented about keeping timecode intact, and about working with separate audio. If I am reading between the lines correctly, it sounds like there is a chance I can loose my P2 timecode and that my audio will not sinc up properly. Can you explain this problem and how it pertains to HDLog vs. MXF4Mac?

I am starting a project shot on P2 with DVCPro HD at 60 frames. It is interviews and broll with audio.

Chad Greene Mahoney Media Group Minneapolis, Minnesota 2x3GHz Quad-Core, 4GB Ram, OS 10.4 FCP 6, Kona-LH