Chris Frantz
Forum Replies Created
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If there are limitations they don’t seem to be applying to our workflow 🙂
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Consider them not obvious to some I guess, because I just finished a doc using about 23 clips wrapped in compounds without any issue. Granted it was finished in FCPX, but if I’m not taking it to Resolve then what’s the issue? I’ve also read workflow studies where they recommended this very same method using compound clips.
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Right ok, but then you could fly down the clips in your timeline hitting shift f, then shift r for a replace which should have your new master in it. That’s the backwards way of doing it though, because it doesn’t take your workflow in mind. You could just have easily started with your master clip in a compound clip. If you start your workflow with that you should be able to swap your master at anytime without even relinking and it would ripple down.
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You’re totally right, matching does usually occur for us we often do only replace single instance of a clip on a timeline. So you may have one master clip that’s used multiple times in the project but if you relink it once in premiere that ripples through to all your cuts in the timeline? That makes sense, but if it’s even one frame off, doesn’t that throw every clip out of wack?
If you did want to try this in FCPX, for one master clip in multiple instances a timeline, why not open then master clip in the timeline from the bin and replace with the new master within it? Wouldn’t that accomplish the same thing?
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Good to know. In the two years I’ve been using FCPX professionally, and with tons of relink a along the way, I haven’t run into this scenario. What would be a real life example of a clip going out, then being trimmed on both heads and tails then having to be force relinked back? If it’s something from resolve you should be using a XML transfer instead, and if it’s something from AE, why make trims in AE as opposed to sending the right ins and outs to it from the NLE?
If that was an issue that I had, I think I would follow the same method as before, but first I would glance up at the new starting TC next to the replacement clip, punch that in, and overwrite. Then to match premiere you would have to hit home, c, shift delete, end, up arrow, c, shift delete. That’s certainly a few more steps, but it’s maybe a 3 second addition to the workflow.
Sorry for any grammar issues, punched out on phone.
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You’re right, if the start frame has changed then the above method will not work. But if the last frame has not changed, it still will work if you backtime the replacement with shift Q. Now if both the end and start frame have been changed, things definitely get messier, but they also would in Premiere right? Maybe I can play around with this when I get into work, but if I force relink a file from the bin with premiere and the original clips is 10 seconds (cut to 5 on the timeline) and I replace it with one that is 3 seconds cut from the middle of the original 10 second clip, how does Premiere handle that? The cut in the timeline no longer matches what you’re relinking to, so it seems that you would have a similar issue that you do with the same sceneries in fcpx where you will have gaps and trimming to handle.
Either way, force relinking should be done meticulously because things can get messy quick in any program.
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Ok, so we had this issue also when we first ran into a need for relinking. It’s actually not totally painful if you accept a few concessions, and I should say there is a way to force relink using a little XML hack, I’ll see if I can find it but we do something different. Say you download a proxy from a stock site, it’s some crazy low resolution, audio is basically garbage sounding, and there’s a giant watermark. That’s pretty standard. You make your edit, decide to purchase and download the clip. Or if you’re us, you download tens or hundreds :). So you have a new folder in finder, and drag it into fcpx which creates a new keyword collection (let’s call it replacements). Then you start the replacement process down the timeline. I’m sure you managed tagged your proxies in some way (right?), so you can sort that in a list in the timeline view. Now is the tricky part, but you don’t even have to take your hands off the keyboard. You can bounce down your timeline list, and open all proxy clips individually in the timeline, and replace from the bin with shift R. Bounce back to the master with command [, make sure the clip plays/looks correct and you’re all good. Effects, color, even transforms should ripple through. As a reminder to ourselves, we will drop a golden tooth (chapter marker) on the clip, just in case we need to jump back to it for any reason.
Force relinking should be done one by one anyway, you should always check and make sure nothing got lost in translation, so I really don’t see it as much slower than even Premiere. Works for us, day to day. 🙂
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Still having this issue on Mavericks on the 2013 Mac Pro with D700’s, software fully up to date. Also having a similar issue on Yosemite on a 2011 Macbook Pro, software also up to date. Feature updates are great, but I literally can’t render out footage in one, or get timeline GPU playback on the other. Any help Adobe?
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And I have clean folder structures I can import right into Premiere that will turn into bins and start working right away as opposed to figuring out how to interpret sub-folders into keyword collections. That for me is a way faster workflow and worth the price of a good AE or media manager. Btw Charlie, nothing personal here, you’re a great resource for this community and I’ve sent other prospective FCPX editors articles of yours before.
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The proxy workflow is slick when it works. No argument there. Auditions are also cool, but I can count the number of times I’ve used them on one hand. Sure Adobe added the feature and it doesn’t have everything in it yet, but if you take a look at the metadata options in Premiere you’ll see the future is bright. Round tripping with Resolve is great, Premiere can do it too, and can also send an entire project to Speedgrade which is getting updates at a faster pace than FCPX. Less need for so many plug-ins adding features that other NLE’s have by default. Keyword collections are slick, so are bins ;). Storyboards are cool for some, I can’t see ever using them in their current iteration however. Magnetic timeline is a cool option, which there should be a toggle for. I can ripple a cut in premiere pretty easily.