Mark Smith
Forum Replies Created
-
Seems like a lot of work for middling results, no?
-
I typically use pro res 422 as my image sequence output that then goes into FCP. You can set up multiple compression presets in compressor- which you probably already know and then drop you stills into a batch and get the various output formats you want.
-
Yes of course any NLE should handle this. I think you might find however as the volume and image size of the stills increases, NLE’s may become less cooperative and efficient. So if you have 2500 4K stills, FCPX will do the job but its going to get a little cranky. If you make the still sequence in compressor, output as a pro res file, bring that into FCPX the process will be smoother. You can always slice and dice that file in X, retime, speed ramp, whatever, and the effort will be many times easier than doing it all in X.
-
You might be better off using compressor. I use that to make image sequences out of piles of stills taken for time lapses . I ‘ve done the same thing in FCPX but compressor is better, especially as the number of stills increases.
-
I think I just answered my own question:
THis seems to work- If I have my library set to leave files in place, and then browse camera files on the archival disk in the finder, then drag needed clips to the browser, it appears that the media does not get copied into the library. One other little detail I forgot to mention- I’m making proxies, which are kept in the library so I have some low grade reference if I ever need to go back and check something without requiring the archival drive to be mounted.
-
More info:
The file based cameras used were: C300, Various panasonic P2 cameras, C300 Mk 2, go pros.
I used Shot Put Pro to offload camera cards to hard drives and so the card structures are duplicated but renamed on on the hard drives.
So if I want to pull clips from some shoot done in 2010, I have a drive with all the camera cards shot in 2010. The idea is to create a library & project with “leave media in place” ticked off, so then my project which will contain clip ranges I need to export and hand off will reference the camera cards on the archival disk, but not actually copy those clips into the library. I then make my selects, throw those clips in a project, share as whatever media type is desired. DONE.
I don’t care if the media is all missing from the library because it was never actually copied to the library, once the archival drive is disconnected. If I need further clips from 2010 I can always reconect that archival drive and do more work.
This workflow was very fast and efficient with the previously digitized tape material I also have on archival drives and X would allow me to ‘leave media in place’, which essentially means my library is tiny because no media is ever copied to the library. My goal is to do the same thing with the file based media but so far no luck. I have a couple of ideas I haven’t tried, but I’m hoping there is an easy way around the problem.
-
What is odd is that one can set a range around some audio keyframes and drag them , but it can’t be done with video key frames. Seems like an odd omission in the area of video keyframing.
-
Yep that works. Before I posted I did use the time line index to select all the gaps and was a bit faked out by the indication I had selected 3:43:15 worth of material . That result was the gaps plus the clips in between which seemed odd. That said, altering the duration of 12 gaps in one shot works like a charm.
-
Infrequent a user as I am of the voice over recording capability in X, I have long experienced what I felt were problem with recording levels being too low for in app recorded voice overs. Its a bummer to know it may have gotten worse.
-
I have High Sierra on my 2012 MBP and was recently editing some Canon XFAVC 50 Mbps and did not have issues with fans spinning up. THat said this codec is not Sony AVC which I have gathered is a bit more difficult/ processor intensive, but still no problems here.