David Hudson
Forum Replies Created
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Yes you can point dirtectly to each one and pull in, but that is A) cumbersome and B) creates a separate clip with no relation to the r3D file.
And Bear in mind this is RED saying (at 2015 NAB) this feature gets the transcodes done and ready to edit faster, than transcoding ones I have the r3Ds. So jumping thru hoops of link this relink that are not realy what I think is the purpose of these files.
So far the testing leads us to just link to r3Ds and transcode with in Avid, keeps it all nice and neat.
Not seeing a benifit of the camera generated QTs -
Yes very sure,
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Well yes and here is a peculiar thing.
If I “link to” and go to the top Folder Avid links to all the r3D files and ignores the QTs
no mater if I have it on automatic or QTs only. Ok so why if I am telling it only look at QTs does it still bring in r3Ds?? -
Very simple: I need to make straight lines with a mask tool. It seems crazy to me that every apple application uses the same keys (hold the shift key) to lock alignment of things yet FCPX not so!!
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So you had to relink each clip individually, thats what I was finding. As soon as I tried a few at a time I couldn’t get it to relink. Bummer.
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Yes!! that would be nice
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We do basically the same here:
1. each timeline is incremented RC 1
if you use the space before the version number FCPX will update that number automatically!!
(RC-short hand for rough cut FYI)2. Also use separate event for all cuts/sequences
and use keyword collections to control abit more
ie: Work cuts, Current cut, Alt cuts etc. -
hmm..? Not sure why you are trying to place it in the generator cat?
Are there parameters that need/can be adjusted? If not, you just need the
.mov file in a location all editors can access then place in their event to use as
needed. -
Yes. If the editor wants to retain fcpx10.09 then take a copy of the project to another machine with 10.1 or higher. Export XML and open in Resolve. Should be in very good shape!
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Wow that is a bit cumbersome. My current workflow is about the same. I have had success taking the fcpxml to Resolve. In Resolve I export and AAF. Import that AAF into Quantel Pablo. This all works. It is the next steps : Getting graded clips back that is the big issue.
I have discussed with Focus people and for the film Focus they did not need to go to this step as the film was conformed and finished at that point of the workflow (no going back into FCPX to finish) Q Pablo does not use xml. I will look into AAF out of Q Pablo and see how that goes.
In the past I have taken either the graded clips with handles and matched them back into the cut (time consuming!!) or I take the time output from Pablo and lay that over my clips in my FCPX timeline and then as needed match any clips back that need addressing -and hopefuly at that point the cut is pretty much locked.