You can use target mode to transfer the footage to your current MacPro. I just would not try to edit the footage directly in target mode. FW800 is pretty slow, and I would imagine there will be some penalty for target mode, so I would transfer that footage from your G4 to your current MacPro in target mode, and then not use the g4 anymore for…

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You could try it, but I don’t think that would be the best way. How much footage is on the g4?

That’s going to fill up fast, especially if you start rendering. At the very least, you can point your scratch disk settings to the SATA so you won’t fill up your SSD.

Which is your boot drive, the SATA drive or the SSD?

Yes, it’s easy. Not reason to delete or reimport. Just click the right button and they show up in the Browser.

https://support.apple.com/guide/final-cut-pro/hide-clips-in-the-browser-verf02db6a29/mac

It could be that way, not sure the source of the clips (or the source of the proxy tc in the proxy clips).

Do you have Premiere or Resolve? Drag one of the high res clips in to one of those programs. What does it show for tc? Does it show zeros or does it have other tc?

Yes I use the Assume TC to be from > Source TC

Two ways. Video Tool Shed’s QT change will add a tc track to the clips based on the metadata, and FCP will be able to read that tc track. I use this tool frequently, and it’s quick and easy, and relatively inexpensive: https://www.videotoolshed.com/handcrafted-timecode-tools/qtchange/

CommandPost has a Sony TC Repair function: https://commandpos…

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Just watched a video that said the standalone and studio apps will be the same. Difference will be you will get the iPad versions of the appropriate apps in the subscription. You can still buy all of that apps (for ~$1000) or get them all for $129/year. I guess we will get more clarity as it is physically launched.

I see. Then yes, that is a bit different.

Isn’t this just a way to get a bunch of Apps on subscription? Seems like you can still pay for what you want and not tied to a subscription. Website says this:

“Can I still use my existing versions of Final Cut Pro, Logic Pro, Pixelmator Pro, MainStage, Motion, and Compressor?

Yes. If you already own Final Cut Pro, Logic Pro, Pixelmator Pro,…

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Anytime you export out of any program you will have to compress a new file. There is no way to make new frames without some form of compresssion cycle, obviously some are more lossy than others.

You can set the storage destination in your Library preferences and consolidate to an external source. It does not have to be in to the library.

There is also an app called Reference X on the App Store that helps with this. You have to export as fcpxml v1.11 though, which is still possible in the latest version of FCP.

If you are trying to translate a whole library, XtoCC on the App Store is your best bet. Not a perfect translation but it will get you pretty close.

Dragging in the MXF files saves a lot of disk space. I try to avoid the import window unless absolutely necessary. There will be no issue simply using the MXF files in FCP.

Yes, ProRes will be bigger, just like the EditReady made ProRes files.

FCP can handle either the mp4, or ProRes, but the Mac mini will have a more difficult time with the ProRes files since they are larger and have more data to process.

Not really. You can always transcode to ProRes at any time in Final Cut by right clicking the media and choosing Transcode Media > Create Optimize Media.

Edit Ready may insert timecode in to the ProRes files, and FCPX usually imports mp4 files with 00: tc, so that would be the only downside, in that you might not be able to link the orig mp4 to…

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Your drive is great, love those little powerhouses, it’s your MacMini that is probably struggling with the 4k ProRes. Yes, you can use the mp4s.

There are six flavors of ProRes:

Proxy

LT

SQ

HQ

444

444XQ

The data rate for everything but Proxy is going to be higher than fx30 mp4 files, so bigger files should be expected. Final Cut does just fine with any flavor of ProRes, but depending on your system, you may need to boost either your drive speed, processing speed, or both.

Please give us more…

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Yes. You can not put Events in Folders, but you can put folders in events. You should explore keyword collections as an organizational tool, as well as Smart Collections. You can have one Event, and in that event is folders for different station IDs. In those folders you would have a keyboard collection for the resources, and a smart…

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Check out Lumberjack systems:

https://www.lumberjacksystem.com

I totally get it. I wish fcpx would read the tc too. It would make life easier. In later builds of the Sony camera firmware, you can at least set the option to name clips to camera reel and date format which helps to keep clip names unique, which helps keeping track of the clips.

The method you suggest of reimporting all media and replacing all…

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Do it the other way around. You have to import the clips in to DaVinci in the media pool, then set the tc of each clip to 0, and then import your XML to Resolve.

I think you mean embedded, which is 608.

There’s also the sidecar captions with SRT, webvtt, and many others.

VLC Player will allow you to preview if they are working or not. Youtube (et al) also allows you to upload your own caption file.

You can also save your setting as default. At the top of that list, you can use the little drop down menu as “Save as Default”.

Ran across this today with some AJA Devices and macOS 14.1. Had to do some Terminal commands, and then the connection was restored:

https://support.apple.com/en-us/108387

You’ll need to turn “A/V Output” from the “Window” menu.

I think you will have a difficult time finding a free tracking plugin. FCPX has tracking in it, though, so what kind of tracking do you need to do?

In fcpx, chnage your storage location , then use the “Consolidate” function to move the media outside of the library to an external folder, then delete it on the Finder level. Then relink to the original media on the hard drive.

Here’s a guide:

https://docs.hedge.video/postlab/faq/how-do-i-move-my-media-and-or-cache-outside-my-fcp-library#

Have you installed the driver?

I did a good ole fashioned pref trash, and a lot of the weirdness went away.

There’s a Format Support update as well in the system updates.

In each FCPXMLD package (you have to right click and “show package contents”), there’s an “info.fcpxml” file that resolve should be able to read.

Resolve 18 has been updated to accept up to fcpxml v1.10, and maybe even 1.11 with the latest release.

What kind of media are you importing? Some camera format need to be rewrapped, and FCPX won’t allow a direct import via the import window as it will want to rewrap.

Yes. In the Viewer, find the “View” dropdown menu, and choose Choose Custom overlay > Add Custom Overlay …

Not sure what you mean that you can “access” the Voice isolation after reimporting, but you could make compound clip of the original footage with the good audio, and the video for the stabilized footage from catalyst and have the best of both worlds, but there’s also, Gyroflow and Gyroflow toolbox.

With Gyroflow and Gyroflow toolbox, you can get…

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That’s how the slow motion works. You film 120 frames per second, and play it back at 23.98fps. This then, is slow motion. If the clips came in at 120fps, then they would play back in “real time”. So you will need to manually identify which clips are slow motion and tag them using a keyword collection or mark them.

Very clever.

I watched a video and see how it works now, and I see why you can’t simply “relink” to the BRAW clips.

Cheers,

Jeremy

The problem is that the FCPXML that’s coming from DaVinci Resolve has .braw files inside it, which Final Cut Pro can obviously not import.

But doesn’t the tool box expose the files to FCPX? Maybe I don’t understand how this works, but if the files can be read within FCPX, why can’t the timeline be imported? And fi the files are already i…

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And you media is imported already using the toolkit?

I haven’t used the new plug-in, but….

I would import and organize the media in to fcpx. Then export fcpxmls of any sequences from Resolve and import those in to fcpx.

I would not try and get the Resolve organization in to fcpx, I would keep that a separate process. Fcpx has much better organization tools anyway and it will be good to start the pro…

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If you have Logic, you can send an fcpxml to Logic and use Logic to export an AAF, but X2Pro is recommended and works very well.

It’s worth the money.

First, what Mac do you have?

Second, are your drives USB-C or thunderbolt?

Third, are they bus powered or do they have to plug in to the wall?

Turn the video opacity to zero

Or break apart the clips, then make a compound clip, then open the compound clip and hide the video.

I would suspect exfat as the issue, and probably why you are seeing inconsistencies.

https://support.apple.com/en-us/HT200243https://support.apple.com/en-us/HT200243

This is why I asked if the media is external or managed.

If it’s managed, I’d try using fcpx to move to an external location. Does that go fast or slow?

If it goes fast, you can delete the media from the external location using Finder to help separate the issue from FCPX. When using Finder does deleting the media go fast or slow?

If the first pro…

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Is the media in the Event or outside of it? (Managed or External)

I would love to see this for Sony XOCN as well. It would be so helpful to be able to keep it all in FCPX without having to use some sort of intermediary.

Actually, frame,io does do this, you just have to have the versions “stacked”.

I could try and explain it, but the link below does the best job of it, complete with gifs!!! 🙂

https://support.frame.io/en/articles/4431-version-stacking-and-comparison

No worries, then Sync-N-Link won’t help you. I woudl add Scene/take info directly in to the appropriate fields in the Browser.

There is scene/take metadata fields, so you should add that information there. Leave the filename as is. You can rearrange the browser columns to show you scene/take if you’d like.

Also, do you have separately recorded audio, and did you use slates and have timecode jammed from audio to camera? If so, the audio files usually have scene take…

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