Keith Mullin
Forum Replies Created
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For the record FCP 7 is supported on macOS Sierra.
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I’ve been working with Catalyst Browse lately and really digging the media management tools. It will let you set in and out points for clips before copying or transcoding them, basically letting you keep only the clips and portions of clips that you want. You can also do basic color eval and correction if needed. Renaming clips is super easy. With a few clicks you can copy the card to your backup (including in/out and renamed files), and you can output any number of ProRes varieties for import into FCPX. This gets around the need to make optimized media and lets you leave files in place when importing.
One limitation is that Browse will only output 2k ProRes, but with Catalyst Prepare you can do 4k. But you have to pay for Prepare.
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The only reason you would get “original media” copies inside your library is if you use “copy to library” at import. If “leave in place” is not an option it is because FCPX does not recognize the location that you are importing from as a safe location to leave media files it might need to access. This happens all the time with clients of ours that copy entire cards, file structure and all, onto hard drives.
The two solutions for this that come to mind are
1. Trancode to ProRes using Compressor, or some other software, and import the ProRes files and “leave in place”.OR
2. Use FCPX to import the files from the cards directly and use the Library management panel to dictate where the files are being stored.
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A few things could be happening.
If you tell FCPX to make “Optimized Media” it is ALWAYS going to make new files inside of the library (or wherever you have your rendered files targeted) because you are telling it you want to transcode the files into ProRes 422. This will happen even if you have already transcoded your original media into ProRes. If you have already transcoded into ProRes using another application you have no need to create optimized media.
The other reason that FCPX will make copies of the media (usually it wont give you the option to “leave in place”) is if the original media is in the file structure that it appears in on the camera cards. FCPX sees it as a media card and therefore not a place it can use as storage, so it will make a copy.
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Thunderbolt and USB 3.0 will not really have any noticeable difference in performance for a single spinning hard drive, as both protocols are significantly faster than a spinning drive can read/write.
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It’s under “Share->current frame” you may have to add it as a share option, but from there you can set the type of image, TIFF, JPEG, PNG etc.
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You can turn it off in the inspector panel for the clips. Its called “Log Processing”. Just select “None”.
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I would probably skip the trip into Lightroom. The Dragonframe software has a lot of export options that would have been plenty good enough for doing color and adjustments directly in FCPX, but 2 years ago I didn’t know as much as I do now about color depth and codecs.
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The workflow I used (which I would probably alter if I did another stop motion), was to capture 18 megapixel RAW images from a Canon T3i through Dragonframe. I then brought those images into Lightroom for color etc. I then exported them all out to JPEG and imported them into FCPX. I tried doing it with TIFF images instead, but the files were just too massive to work with. I never reduced the resolution of the images, and I ended up with a 3:59:00 animation at 24p, or roughly 5760 individual still images in sequence.
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FCP X can handle just about any format of still image you can throw at it. There is no “codec” to worry about really. I did a stop animation project that I edited in FCP X 10.2 with thousands of still images, it ran slowly after reaching a certain point, but seriously that was thousands and thousands of individual JPEG’s.