David Mcclellan
Forum Replies Created
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I am about a third of the way through with my synch. All done in X. Workflow seems very intuitive and so far everything has been spot on including multi angle takes and stuff that was unable to sync in Plural Eyes 3.5.
-DM
2013 MacPro 3.5 GHz 6-Core Intel Xeon E5 64BG Ram
LG 31MU97 4K Display
2013 MacBookPro Retina -
Thanks, yeah I have most of the sound files relabeled as their proper take at this point which I’ve done manually at the folder level. I’ve done this many times before but never in X. I will definitely try that suggestion of doing the sync in X. The synced files are just basically compound clips though right? I just shut off the camera scratch audio and edit the synced compound clips in the timeline like normal.
-DM
2013 MacPro 3.5 GHz 6-Core Intel Xeon E5 64BG Ram
LG 31MU97 4K Display
2013 MacBookPro Retina -
Yeah I tried that export new media in PE and on certain clips I noticed some color shifts in the skin tones on the exported files. I’ll test it further just to be sure but this would be the simplest way for sure. Synch in PE then export a new file with audio replaced.
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Yeah – I’ll give X a go – I’m still organizing all of the sound files and setting up the folder structures etc… I was just wondering what other people are doing for syncing on feature length stuff with lots of footage and no TC but this seems to be the way to go.
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Yeah I may just do that. Organize everything in scene folders and sync in X.
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Yes – there is no common TC here.
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I have a decked out Mac Pro here (3.5 GHz 6-Core Intel Xeon E5 64Gb Ram & AMD FirePro D500 3072 MB) and I recently finished posting and delivered a feature that we sold. Started roughs in 7 – finished everything in X – all ProRes 1080 HD footage (RED Epic transcoded to ProRes HQ mostly). We are about to shoot a feature in 4K that I will start posting next month and I can only tell you the challenges that I had towards the end of the process with my top of the line decked out MP. All of the reviews you tend to see are people posting very short projects/timelines – and of course they all work with tons of effects and layers upon layers and rip it up on the NMP no problem. It all seems very impressive. That is all fine and dandy for programs under about 20 minutes and there should be no real issues other than the obvious (things can/will get corrupt, fast thunderbolt backups are absolutely needed, and yada yada yada…). However – when you get to around 80 – 90+ minutes and are assembling all of your finals into one master project and getting towards that last month or so of minutia… on a deadline – that is where you really test your system’s ability. And I can say that I was able to bring the MacPro to its knees a few times towards the end of this project with the amount of compound clips and effects that were needed to get the film out. Of course I was very happy to be on a machine that made all of that POSSIBLE – but still – to bring it back to the OP’s question – is the new iMac going to be up to the task of editing 4K – I would say probably – if you are doing basic stuff… but expect it to be less efficient and snappy as your program gets more layered, complex and LONGER. Length of program and complexity of all the needed elements toward the end of the process was the big factor – and at the end of the day the Mac Pro was great and allowed me to do things i could NEVER do on my old system or even my late 2013 MBP retina. I’d still be waiting for renders… Those last few months or so of work – the final push to finish and get it all out and accommodate all of the myriad of changes — that is most likely when you will wish you had the full on decked out Mac Pro. I do wish they would come out with a new screen for us in 4K. The new iMac looks great but 16Gb Ram has me scratching my head. When I was kicking out project files for people to check on BluRay or master videos – you could watch on the menu meters all of the ram being sucked up by FCP X.
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Thank you sir!
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You are not alone in your grief – I just tried to media manage a very long training DVD that was ALL multi clips – and FCP completely lost it on 2 of the sequences. I guess that is pretty good considering that there were 15 or 16 sequences. I have no idea why – as they were all cut in the same fashion with 3 camera setups and then collapsed. I was just trying to move the media to a backup LaCie FW Drive to take to client for approval – so my original clips were still intact – however I am wary of Media Manager because – to paraphrase the great Will Farrell “80 percent of the time it works every time…” Words to media Manage by.
-DM
G5 Dual 2.5Ghz
OSX4 FCS 6
Lots of Ram – Lots of cables – Lots of bills… -
MEDIA MANAGER SUCKS!!
All of your media has to have timecode in order to be managed. Including hundreds of sound effects and ADR clips. Yeah this is practical.
Media Manager should be able to read EVERYTHING IN THE TIMELINE – ALL THE TIME – including any imported music files and ALL NON-TIMECODED MATERIAL – I.E. EVERYTHING IN THE TIMELINE – and be able to accurately make size reduced NEW projects (with handles) of JUST THE STUFF IN THE TIMELINE. Yet this never works – or if it does it does not work effectively.
Lots of Media used in filmmaking is non timecode based stuff. Pictures, music, ADR tracks, etc… THIS IS CRUCIAL. WHAT GOOD IS A MEDIA MANAGER THAT CAN’T EFFECTIVELY MANAGE ALL YOUR MEDIA???
For Instance: I make a film. it has 150 or so music cues. It has several hundred Sound effect cues. It has 200 lines of ADR. It has CG elements and text elements. All of these elements are NON – Timecode Based bits of media that get imported into FCP and used in the timeline without any issue. I don’t have the time to add timecode tracks to the 500 or so small clips of media – and what is more I shouldn’t have to. Now the movie is done and I want to MEDIA MANAGE IT down to its final timeline with handles of 1 or 2 seconds for all the clips. guess what? I’m Screwed. Why?
Because FCP only media manages timecode based files. All my music and ADR and effects are LOST in any Media Management that I do. This is a HUGE FLAW. As far as I am concerned – if FCP can read the in and out points in the timeline of non timecode based material while I’m editing and printing to tape and Compressing etc… then it should be able to read the correct in’s and out’s when I am Media Managing and – if need be – assign it a timecode track on the fly. If this is so mission critical to FCP – then it should be an option in the media manager window.
Please please please correct this. I’ll give you another $500 if you just freaking correct this Apple. Or maybe you can just pull a few of your iPhone commercials out of prime time to pay for the programming upgrade.
-DM
G5 Dual 2.5Ghz
OSX4 FCP5
Lots of Ram – Lots of cables – Lots of bills…