Jeff Kirkland
Forum Replies Created
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There are a couple of font folders – one user and one system – and Photoshop only uses one of them – I don’t use photoshop but I remember being told that by a designer a couple of years ago – but there can also be license restrictions, for instance there are some MacOS system fonts that Photoshop doesn’t have access to.
None of that is likely to apply to any third party font you install, or at least it never has in my experience.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
Have you tried colour correcting with something other than Chromatic? Could that plugin be what’s eating up all the cpu cycles? I’ve done projects with large numbers of stills and never had an issue but I’ve usually corrected with either the colour board or Color Finale.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
I would have thought that your hardware is more than up to the task and I’ve personally not had any issues with GH4 and GH5 footage. Given the behaviour you’re describing, I’d be suspecting the hard drive is either faulty or too slow to keep up – I always find FCPX’s performance to be significantly slower when editing from a USB 3 drive.
The obvious question would be, have you tried editing it on a different hard drive?
But it could be any number of other things…
Have you tried optimising your Media? How’s the performance with ProRes?
What effects are you applying in the edit? Could one of those be causing the system to freeze?
The library could be faulty in some way – what happens if you add the same footage to a new library?
Trashing preferences or reinstalling FCPX can sometimes fix those sorts of issues.
I’ve even once had an issue where FCPX would constantly go slowly or freeze that I eventually traced back to a USB hub I was using that the hard drive wasn’t even connected to – and only on that particular Mac.
It can be a pain to figure out but start with the simple stuff like creating a test library, optimising media, or copying the project to a new hard drive and work up from there
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
FCPX doesn’t support doing that – nobody really knows why Apple decided not to – but you can achieve it by sending the completed project to Resolve or by using an app like Worx4X.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
And make it convincing? Probably none but a truckload of rotoscoping might get it roughly right.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
That might depend on your codec but ProRes Proxy just has a smaller frame size and lower bitrate so the image quality will be lower but the colour information will be the same. Which is not to say you shouldn’t send full sized originals if you can but I’m often having to send files over the internet and proxies can save a lot of time and bandwidth.
Mostly I think it would depend on what the colourist is doing. If there’s a level of resizing and sharpening involved then it would probably be better to have the full resolution originals but if it’s purely colour correction then only having proxy files shouldn’t make any difference.
Whatever you do, the process is the same. The remote person gets the footage and project file, does the grade, then just sends you the project file so you can re-link and render.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
That would be correct although I personally think you do that with a snapshot more than you would with a duplicate. As others have said a snapshot is exactly what the name implies – a copy of the project, completely frozen in time. Create a snapshot and carry on editing the original knowing that you can go back to that point if you need to and nothing you change upstream will have any effect on it.
If I create a duplicate, it’s more because I want to use it as the basis of a new version so I’ll rename that to V2 and continue editing. In this case, I don’t want to break the upstream relationships with compound or multicam clips – if I go back and tweak something in an upstream compound clip, I want it to ripple down to both the v1 and v2 versions.
A good example is the common practice of putting a temp music track inside a compound clip and editing with that clip – allowing you to swap the music track out globally by just replacing the track inside the compound clip. Duplicate projects maintain their upstream relationship so every duplicate project will inherit the changed music track whereas snapshots are frozen in time so the change won’t happen to them and they will keep the temp track.
Which one you use depends on what changes you want the project to be able to inherit later.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
It’s as lossless as your codec of choice gets. Not really noticeable for something like ProRes. But it’s the only way to do it with FCPX so there’s no avoiding it.
My workflow would probably be to send the edit to Resolve, output proxies to send the the remote colourist who would send me back the resolve project which I would relink to thbe original media and render for bringing back into FCPX. That’s a single generation loss in the round trip.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
You can’t export clips with handles from the fcpx timeline but as you say, you can send the timeline to resolve and export the clips from there. Worx4 X also does a great job of exporting individual clips.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland -
Can’t say I’ve ever seen any footage in that aspect but create a 21×9 timeline, add footage and set it to fill rather than fit.
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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland