[Helgi Thor]

I’m pretty sure FCPX and Compressor will reencode.

Take a look at Adobe Encore, not sure about bluray, but it won’t reencode MPEG2 for the regular DVDs.

—
Helgi Thor
Editor
Fortaleza
Brazil

[Helgi Thor]

Tangier,

Instead of dragging the only project from one event to another, try to drag the whole event from one library to another.

It looks like the project is referencing the existing multicam clips (which don´t have the adjustments) when you drag only the project. If you copy over the event with the adjusted MC clips, maybe it´ll use those.

Another thing to try is to use the menu commands (File Copy/Move Project to Library) instead of mouse dragging, though I have no idea if that makes any difference.

—
Helgi Thor
Editor
Fortaleza
Brazil

[Helgi Thor]

Jerome,

I think I saw this situation covered in one of those videos about collaboration and FCPX, probably with Sam Mestman or Michael Matzdorff. I recall there was an extra step you have to do before copying the project over to your library to avoid the duplicates, but I can´t remember what it is, sorry.

Maybe you can try contact the guys at FCPXWORKS:
https://www.fcpworks.com/contact/

Please share if you find out.

—
Helgi Thor
Editor
Fortaleza
Brazil

[Helgi Thor]

Thank you for your reply Andreas,

So the problem is with the number of titles, rather than the duration of the project, right?

I’m editing another feature now and at moment I have each scene in it’s own event, but soon I’ll be joining them in one master project and I’m worried about the performance. I don’t really wanna go back to 10.2.

—
Helgi Thor
Editor
Fortaleza
Brazil

[Helgi Thor]

Shooting hasn’t started yet and by your answer it seems that I haven’t got the best workflow set yet.

I haven’t worked with the Alexa before and I thought Resolve was the way to go for the proxies. Some further research shows that it can record MOV together with ARRIRAW, it seems.
Apparently I need do to do some more studying….

Thanks for the help.

—
Helgi Thor
Editor
Fortaleza
Brazil

[Helgi Thor]

I’m not and I probably didn’t make myself clear. I’ll try again:

Option 1: Bring the ARRIRAW and the WAV files into Resolve, sync, render to MOV, import to FCPX and edit.

Option 2: Bring the ARRIRAW files into Resolve, render to ProRes, import MOV and WAV to FCPX, export XML, sync in Sync-N-Link, import XML and edit.

Option 1 seems to be less hassle, but I just want to make sure there won’t be any pitfalls down the road when I deliver the final AAF to the sound department, due to the embedding into MOV.

Option 2 has the advantage of Sync-N-Link being able to translate the metadata track names to subroles and I will probably be exporting an XML anyway to use with ShotNotes-X.

Any thoughts?

—
Helgi Thor
Editor
Fortaleza
Brazil

[Helgi Thor]

And a little extra tip: The clip skimmer is active when the Trim, Range and Blade tools are selected. So if you want to active the clip skimmer temporarily, hold down T (or R or B) and then release when done.

—
Helgi Thor
Editor
Fortaleza
Brazil

[Helgi Thor]

I really do hope the TC is accurate, it should be, and if not…oh well, I´m in for even more hassle later on 😉 I´m avoiding the tc breaks (which are apparently there) by making subclips before exporting to ‘FCPauxTC’.

I tested Compressor to create the ProRes Proxy files after ‘FCPauxTC’, but it messed up the timecode. I´m way more than halfway through organizing, subclipping, syncing and have already cut some scenes, so I don´t really want to change the workflow drastically.
It looks like it´ll be best to create the ProRes Proxy files from the ref files created by ‘FCPauxTC’, instead of the original whole tape master clips. Then I just have to replace the ref files from ‘FCPauxTC’ with the proxy files. I just did a test with one tape and it worked.

Thanks for your attention, Jeremy, I really appreciate it.

—
Helgi Thor
Editor
Fortaleza
Brazil

[Helgi Thor]

Believe me, I know how this should´ve been done.

This is a LOW budget feature film, which was to be shot on RED, but for some reasons RED didn´t work out. The producer got a great deal on a couple of F900 HDCAM cameras, but where I am there is no HDCAM deck anywhere near, so “oh just use the camera for capture” was the answer to that, so logging was not an option. The idea is film out in the end, so we will have to recapture uncompressed at the finishing house later, but I had the feeling that it might change and we would have to finish here in FCS, so it seemed like a good idea having everything in HQ to begin with (remember I don´t have any deck to easily recapture). The idea was to shoot as it was film and drive space shouldn´t have been an issue, but HDCAM is tape and apparently it´s hard to resist the urge to shoot a lot.
The producer is a friend of mine and this is an interesting project so I´m in for the challenge and I´ll try to make the best of it.

—
Helgi Thor
Editor
Fortaleza
Brazil

[Helgi Thor]

Though we will most likely recapture for online, I wanted to have the option to finish at the system and why not cut at the best quality if you have the drive space (which I thought I had when we started)?

—
Helgi Thor
Editor
Fortaleza
Brazil