[Craig Alan]

Thanks. Very fast initial grade. What a difference! Do you have any trouble with the XML export back to resolve? According to John Davidson, XML’s don’t retain smart folders, on screen text data, and effect keyframes. Does this effect the workflow at all?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

what about the other roads?

who actually owns radio, television, internet, cell
bandwidth?

all given to the private sector for a song.

It’s like private toll roads on public land.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Hi David. What is your workflow from Fcp x to resolve and back?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Cool. FC seems to be good at allowing renaming things without loosing their links. Inside the program as well. Can’t tell you the number of times I’d go through a panic in FCP3-7 when something went off line.

And I agree and know we are not alone in wanting to choose a location inside the import window. Particularly when it opens when you mount a media card.

Would be nice to set a location, name the folder or subfolder, do a batch rename, add some keywords all in that window.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Not sure I quite followed all of this. But get the gist.
I meant leave in place from the location of the copied or archived camera card in the finder
not the card itself. I have not tested if these would work together in the exact same folder. But a folder within the folder works for media card copies.

I would try to come up with a work flow that did not involve moving stuff out of where you had FC put them – though I have done this and been able to relink.

I think its best to come up with a solid workflow where everything is imported where you want it.

First make an archive or exact copy of the media card(s). Always good to have this in case your media gets corrupted or a different application can’t read FC’s version. Store these where you like.

In the finder, make a folder labeled for your first media card optimized or rewrapped media.

Next in FC, set that folder location in the modify storage location window.

Then import. Do this for each unique location/folder you want.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

I would like to collapse components together and apart without saving them to the browser unless I want to save them and more meaningfully perhaps export them to a shared media folder. Shared meaning clips to be reused in other projects. To me they are just a way to simplify the timeline and marry components and that marriage should be nondestructive. If you are not careful you end up with 6 versions of a CC just because you needed to break it apart and put it back together. Which is why I would guess it can open in its own timeline. But as you point out, it’s now out of context. And you can’t close the extra timeline.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

I’d check out Ripple training, Larry Jordan, Lynda.com and Izzy and see which has a style you like. Plus I’d call up one of the film colleges and see if they have some student who could use $100 to get you started.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

[Bret Williams] “If you break apart a compound clip it’s gone. You’ve blasted away the compound clip and just returned it back to a bunch of clips. “

Please correct if I get this wrong:
In the timeline, you can makes changes to the CC as a whole but not its components.
Even in its own timeline I can’t get humpty dumpty back together again??
However in its own timeline changes can be made to a CC components broken apart and these changes are made to the CC as if it were not broken apart.
It remains in the browser as if it were not broken apart and effects all uses of the CC.
So if you break it apart in a timeline other than its own, it won’t effect other uses of the same CC. And if you make a new one from the modified components its won’t effect other uses. Is that why, maybe?
So the only way to see these changes in context is to toggle back and forth between the CC in its own timeline and the timeline you have placed it in.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

[Fabrizio D'Agnano] “Maybe there’s some misunderstanding, because it was actually possible in the previous version of FCPX to send the media to folders different from the library you could select on the fly without leaving the import window”

Yes that is correct. Now when you create a new library you can open what amounts to a preferences window in the inspector and choose where you want to store your media, your cache, and your back ups. That to me is a step forward. Previously even though you were putting your media in a folder outside the library the render files would end up populating the library anyway. However if you do a new import and want stuff in different folders than what you chose last time, then you have two choices.

You can open this locations window first, chose a new destination for media, and then open the import window.

Or, and I think this fits your way of working: in the finder create the folders you want; even add tags to the folders and or files. Then when you open the import window you can leave files in place and optimize if needed. The tags and folder names will be recognized in FCP. I don’t optimize our P2 media because AVC-Intra 100 is a very good editing codec and now FCP can read it natively. I can see the clips in the import window without any rewrapping or optimizing.

You should be able to override location settings in the import window, but not in this version. I also do not see a way to do a batch rename upon import. So that’s another step. However, none of this take very long once you get used to it and the program gives you a lot of freedom to choose where stuff goes, what its called (without loosing original names or loosing track of where stuff is) and making changes and importing with meta data – by folder by tags.

The way I see it is FCP X is allowing a lot of finder level integration and freedom and a lot of metadata ingestion which is going to take time one way of the other.

FC is definitely designed to have all the media for a given library in one place even if you have the freedom to do it otherwise. Consolidate also will put all media in one folder in or out of the library. Again as selected in the media storage location window. Itself a two step process. More steps, less chance of error, more user freedom. Some loss of ergonomics. Longer learning curve.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

[Marcus Moore] “Sub-clips don’t exists in X- so regardless of how you’ve tagged a file with keywords or favourites for organization in the Event Browser, the file that you’ve edited into the timeline all point back to the original file.
“

That’s true but they are listed below the master clip with specific timecode and lines overlaid on the filmstrip representation and a tag indicating its been used – that range. So the metadata is there – can’t see why they can’t point to that range use in the timeline. When you are on the timeline and select reveal in browser, it does show that portion of the clip and even the playhead location. They are FCP X’s version of a sub-clip. And if you really want it to function as an independent sub-clip you can select a range and create a compound clip. But I think that’s a bit messy.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.