[Jeff Kirkland]

You need to change the light source, change the shutter speed on your camera, or fix it in post. Three are various flicker fixing plugins available although none of the good ones are cheap.

I usually do my grading and finishing in Resolve and that has a pretty good de-flicker plugin but for working purely writhin FCPX, seed De Flicker looks good and I’ve used Digital Anarchy’s Deflicker plugin in the past to great effect.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

if I get what you’re asking, then no, leaving those clips there, whether enabled or disabled, won’t make any difference to your final output file size.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

It happens when I bring the fcpxml back in from Final Cut. The XML comes in, I then tell Resolve to use the braw files instead of the ProRes files I sent to FCPX but a lot of the braw files end up only having their original embedded audio, not the synced connected audio.

It’s more a Resolve issue than an FCPX one so I’ve started chasing it up that end. I’ll play with it some more once this current edit is over. I’m pretty much working with .braw files 100% of the time now so it’d be great to start next year with a solid workflow for edition them in FCPX.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

[Russell Harmon] “I do a quick grade of all my footage including BRAW in Resolve, export as ProRes files, then edit in FCPX from that. Works great.”

I’ve done that in the past but, as the grade is going to be in Resolve anyway, I was trying to not lose my connection to the raw files or the synced audio.

Still not sure why I’m losing the synced audio when Resolve reconnects to the braw files. I’m putting it down to a bug in the current version and I’m chatting with Blackmagic support to see if they can help figure it out.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

Sadly, synching based on waveform and the camera scratch audio isn’t the best. Even an app like Pluraleyes has had issues with some of it. Resolve has a lot of good features but a reliable waveform sync isn’t one of them.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

I’d say definitely not true – he’s probably thinking of Blackmagic’s updated Video Assist which can record braw from the C300 and the EVA1.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

Braw is the choice. All my cameras are Blackmagic and I haven’t shot anything other than braw in more than a year. And because of that, I’ve only edited maybe four projects in FCPX. Resolve is ok but I want to get back to using FCPX regularly for all the reasons I love using it.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

My understanding is that Apple removed the ability for FCPX to run third party codec plugins a few versions back so Blackmagic can’t develop anything themselves and have to wait for Apple to add support, if they ever do.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

For anything other than small projects, I’m always going to grade in Resolve but I much prefer editing, especially narrative work, in FCPX and I’m trying not to lose the advantages of the original raw files.

Normally, that’s all pretty straight forward but when I tested, the reconnected braw files had lost their synced audio tracks and reverted back to just their scratch audio – which would be a pain to have to re-sync because most of the clips had to be synced up by hand.

I’ve got some time to test again today so I’ll see if I can figure it out.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland

[Jeff Kirkland]

What you can get away with depends on the footage, and upscaling algorithms get better all the time, but it’s going to output just like it looks on the screen – soft and noisy because you’ve just asked FCPX to make up a whole bunch of pixels that don’t exist in the original. But like I said, you can sometimes get away with that in a moving image, especially if it’s destined for a small screen.

Generally speaking though, you always want to downscale unless there’s just no other choice.

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Jeff Kirkland | Video Producer & Cinematographer
Hobart, Tasmania | Twitter: @jeffkirkland