[Christian Hart]

Thanks this helped me too. (also following an older tutorial)

[Christian Hart]

Yes i did but that didn’t help.

In the end i figured it out (just now!) -in case it helps anyone else – re importing all my clips caused FCPX to see all my original files again – phew!!

[Christian Hart]

Just to add some more info:

The missing files eg: A001_C003_1209QV_001.r3d have lower case .r3d on the end not the upper case .R3D on the camera originals.

The example it gives me when trying to link to a first file seems to be INSIDE the bundle eg:
DRIVE/Final Cut Projects/ Priject.fcpbundle/Event/Original Media/A001_C002_1209Y8/A001_C002_1209Y8_001.r3d

But my original media is outside the bundle and has upper case .R3D extentions

When i select my folder with the original media it says “Select another folder of file none of the xxx files are found in this folder”

Both original media (outside bundle) and proxies (inside bundle) are offline.

I just tried restoring from last night’s backup and no dice.

If anyone has any tips i’m at my breaking point – please help!

[Christian Hart]

ON A RELATED NOTE: – Please help!

I have a problem whereby i have not moved any of my external media (original red files) but FCPX no longer allows me to go into optimized/ original mode.

I followed this advice for setting everything up, importing and creating proxies and all was well for a while….
https://www.moviemaker.com/diy/movies-better-fcp-x-red-feature-film-workflow-part-1/
I could switch back & forth easily.

Now i am stuck in proxy mode and some searching on the web/ asking fcpx friends has not furnished me with a solution.

(In another film i am also stuck in proxy mode – unfortunately in this one there are no proxies so i have the red missing media warning everywhere. If i could just switch back to original media moe i’d be fine)

My library is actually on the same disk as my referenced files though those files are not inside the library.

If anyone can steer me towards a fix that would be great. I have many weeks of work sunk into this project & will feel very nervous until it all links up as it should.

[Christian Hart]

Yes sorry i did try that too.

Can’t risk continuing like this – I’m biting the bullet, giving up 2 days work & going back to Media Composer. Will try FCPX again in a few years time or on projects where workflow my is more standard – eg. one single type of media with one specific workflow used) i feel FCPX thinks my ProResLT files are proxies or something – can’t risk it happening again.

[Christian Hart]

Oh gosh Oliver i didn’t know you had replied to this – thank you!! – coming back to the project now and looked up my post and saw it!

I’m thinking to take your second suggestion – just edit with my pro-res and then the colourist should be able to reconnect to the R3D files if the names of the clips are the same…
Of course i will test first but does anyone have a link to ideas to best practices when doing this?
I’m a bit of a noob when it comes to FCPX and in fact when it comes to using resolve…

[Christian Hart]

Hello there
Can i have an additional pointer re Job’s advice anyone? (i’m trying this with C300 clips in MC7.03 – some are 1080p 23.976fps, and some 720p 60fps)

Jobs advice:
“Open the console (CTRL-6 / CMD-6)
– Type “SetAMAQTForcedFrameRate true 23.976″ (or any other frame rate)
– AMA-link to the files you want to have slowed down
– (optional: transcode your source clips)”

Question:
Can i do the console command *after* i have AMA linked to all my C300 clips but before I transcode?? Some of my clips are 60fps.
I intend to transcode as I can’t do QT exports with the consolidated media (i thought turning it into .mxf media would fix this but i get the long GOP error)
Also can i safely transcode multiple bins in one shot??

Thanks very much!

[Christian Hart]

A related question to add to this threat if that’s ok?

I have a feature to cut that was shot r3d then transcoded to ProRes using redcinex – Sunc & organized in FCP7 (original intention to cut in FCP7)

I’d like to cut in FCPX using those ProRes files as my proxies
From the above posts by Ronnie and Oliver it *seems* like that should be possible…
eg. Bring my r3d files into FCPX and then put ProRes files (already transcoded) into the proxy folders at the finder level

But i’d also like to make use of the sunc timelines from FCP7 (sunc by clapper, not the on camera audio which can be frames off) using 7 to X
rather than using the auto sync to similar waveforms from camera audio
So im thinking to do the FCP7 to FCPX thing via 7 to X first then once that’s all done, re-organize, add metadata, roles etc THEN bring in proxies..

Any foolhardy things I am suggesting here?
Advice & tips greatly appreciated as this will be my first FCPX project (though i have done a fair bit of reading)

best.

[Christian Hart]

HI Everyone – I wanted to resurrect this thread if that’s ok?
Going back to the ProRes QT import process in MC i have a test i hope might be helpful.

I don’t know if it is helpful truthfully but here it is anyway

I have found (on a mac, MC7.03, 23.976 project, straight ProRes files) that i could not use the consolidate function either. Even with Import color space set to 601/ 709 it did the rather weird thing of making new AMA linked clips (no new media) – rather than the error message people seemed to get with MC 6.5

If I AMA linked the ProRes and then transcoded, a 4m30sec file took 42 seconds to transcode & appear in a bin as mxf. (there was a .new appended to the file name)

If i fast imported (my resolution & frame rate is the same – i did get a “fast importing” confirmation box while doing this) the same 4m30sec file took longer – 48 seconds to import and appear in bin as .mxf (this time of course there was no “.new” appended – the filename had the exact same .mov name)

Both methods kept metadata intact (as far as “Source File” name & “Source Path” go anyway)
Both methods resulted in identical files sizes in the mxf folder as we’d expect.
Can anyone explain if there are benefits drawbacks to either method?
I’m thinking fast import (slower!) might be more robust when it comes to workflows involving other software due to the identical clip name (no “.new” ending)

I was wondering if anything has changed with MC7 and if i have missed out any useful new methods?
These days i get still get projects from people who are used to a FCP workflow, so they keep on making prores files before bringing me on – and as their editor wanting to work in MC i feel i should keep up to speed on all the ins & outs before i say – “let’s do it”.

ps. thanks to
John Pale for showing that fast import works – although i got exactly opposite speed results!
Chris Harlan for the info re stability / problem-free editing mxf wrapped ProRes with all but 25fps projects
Shane for reminding me that export same as source is not available should i ever AMA (not that I want to)
Michael Phillips for explaining all his thought processes – and being so thorough

best

[Christian Hart]

I’m having the exact same situation & error in MC 7.02
My files are also DNxHD36, 1920×1080, 23.98fps, no AMA at all.

System info
2011 2.5Gh core i5 imac, 20 Gb 1333Mhz DDR3 memory
OSX 10.8.1 first, then upgraded to 10.8.5 (which didn’t fix the issue)
Media lives on a thunderbolt connected G-drive
I am using a usb connected M-audio m-track audio interface with my monitors

Have tried deleting & making a new user, re-did my settings from scratch and still have the problem.

Have posted this on the Avid MC mac forum also – hope that’s ok?