Mark Morache
Forum Replies Created
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James… I’ve been having this problem as well. I think I may have switched projects, shut down FCP and reopened it, and done some other dancing around to finally get the images back to where they should be.
It doesn’t seem to affect the image in the timeline, it’s just the multi cam window.
It sure is annoying.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
My projects aren’t huge. I just did one that went over 100gb. I create a folder on the root of my working drive that contains the library, and folders with all my media, scripts, notes, important copies of emails, graphics, original layered photoshop files that I use to create merged graphics and final exports. This is backed up daily or more frequently depending on how much work I can afford to lose and re-do.
Keeping all the media in external folders keeps the library size small.
When I’m done and approved, I nuke my render files and I drag my entire folder with my library and media onto a backup drive (I use raw drives in a Voyager dock), which I keep a clone of. Repeat clients get their own hard drive for compiling projects.
I also try to keep backups of every motion effect in my effects library. I tried re-opening an old project one time and couldn’t find a lower third I created, so I had to re-create it and replace the offline clips.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Thanks, however I don’t believe the mxf converter can keep the mxf files in their native format.
I purchased the pav*tube converter which I believe does the same thing. I had to convert every file to prores, which took up a lot of space on my hard drive over the canon xf mpg2 50 format, the native format the camera shot.
As I mentioned above, the Canon plug in worked well, as long as the index file was retained from the card. The project is done now, but I’m still wondering if there’s a way to bring the footage in natively without transcoding.
I can do this with hdv footage fabulously with clip*wrap, but that product does not work with Canon XF files.
If anyone knows a tool that can do this, I’d love to know about it… thx.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Thanks.
I checked it out. It re-wrapped the footage. Didn’t seem to translate time code, and there was some strange green and yellow noise on the clips.
Getting closer!
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Yea Marco, I have. I love it.
It works great for my Sony HVR-Z7U, but unfortunately, it doesn’t do squat for the Canon files.
Clipwrap works for mts files, not mxf.
Strangely enough, I tried Sony’s XDcam Transfer, which I use to bring in mxf files from our Sony server, and the video came in fine, but the audio was messed up. It lost sync, it ended before the video and there were numerous noise hits in it.
I’m still looking for something like Clipwrap that works for mxf files.
–> Mark
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I’d be curious use “show package contents” and see if there’s a difference between the project you’re having difficulty with, and the other project that you’re not.
Can you copy and paste the entire sequence of clips into the new project and still have no problem?
I remember when there was a problem with compound clips basically doubling the sequence file size every time you added a splice to the compound clip in the timeline. I didn’t discover this until I started checking file sizes of the project files.
There may be something that’s causing the project size to swell, and the project file size may help you identify that.
I’m experiencing lag, but not that bad! Sometimes restarting helps. Closing libraries I’m not working on helps too.
Good luck.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
May I ask… what’s the lesson here?
It seems to me that there would be a great benefit to having all of your media in one library. It seems that having separate events means you don’t need to load all of your material in the event browser at once, you can keep it down to one event at a time.
At what point do things get bogged down in FCPX?
It seems that using the original media would also be beneficial. Optimizing the media would help functionality, but it would require a great deal of transcoding and hard drive space. Proxy footage speeds up the editing process, but again requires a great deal of transcoding, and you need to create proxies of everything, correct? I tried using proxy footage one time, and I just created proxies of the footage with the largest bandwidth, but when I switched to proxy editing, the footage without proxies went offline. Has this changed?
Again, it seems like if you have a box with a good processor, and a fast raid, you should be in good shape, until your library or timeline becomes so large, the database gets bogged down.
Most of my edits are 5 minutes or under, so I haven’t run into those kind of problems yet. How much can we push things?
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I’ve trained myself to try to keep as much in the primary storyline as I can. If I have a 12 second soundbite, and I want to put b-roll over the last 8 seconds, I put the skimmer over the part of the clip where I want the b-roll to start, I select a clip to cover and press Q to connect, then I select the connected clip and drop it down into the primary storyline. Now I can mess with my b-roll in the primary storyline.
Other times instead of connecting b-roll clips, I’ll take the A-roll and place it BELOW the primary storyline. Now I can mess with my b-roll in the primary storyline using the full power of the editing tools FCPX gives me.
It doesn’t make sense to me to connect all of my b-roll shots as separate connected clips. It makes more sense to connect the b-roll as a secondary storyline, however I don’t have the speed tools in the secondary that I have in the primary. I can’t hit I and O to select an in/out in the secondary storyline. I can’t use the D or W, or the X or C keys in the secondary storyline, so I try to keep my editing in the primary. It took a lot of my attention until I got used to it.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I still do this in FCP7, and it works well.
If your timecode is completely sequential, you can drop your clips into a timeline, set the timecode of the project to match the first clip and use the timecode generator in FCPX.
My problem is that my Sony HVR-Z7U misses about 37 frames of timecode with each clip it creates, so I can’t do this.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
I’m a cheap bastard. For $199, I’d try to make it work without Plural Eyes first. Even if it didn’t work perfectly, I can think of many things I’d rather do with a couple of C notes besides buy something that FCPX is supposed to do… even it it doesn’t do it quite as well.
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com