Michael Hancock
Forum Replies Created
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“[greg janza] “However, the proxy workflow overall is an inefficient use of an editor’s time.”
Proxy workflows make complete sense depending on the project, the source material, how much time you have in post, and the system and storage you’re working from. I just created proxies for a couple of projects and gave them to our producer to do story edits. She doesn’t need the 3.2k files to that, and will likely be cutting on a laptop or older iMac off a single USB drive. So proxy makes total sense there.
When I was cutting longer projects on Avid we always did proxy workflow because it was fast, easy, and made editing a lot smoother and responsive. Then we’d export for color, relink to the camera originals, and master from those. Now that I’m on FCPX I don’t use proxies as much, in part because FCPX doesn’t have actual background transcoding or a good proxy workflow with third party created proxies (like through Resolve), but if you have time to just set it up to run overnight it can be a huge timesaver in the long run because there’s so much less lag on your system when editing.
[Bill Davis] “I spent so many years seeing my timelines as assemblies tied to RENDER files that went offline if I moved anything out to place – to have the freedom to move anything anywhere without penalty is one of the greatest joys of modern editing.”
You should have tried other NLEs. They didn’t all have that problem. 🙂
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Michael Hancock
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So this is weird. I opened a FCPX project I was working on yesterday to do that screen grab and didn’t see this issue. Then I reopened it after your post and all of my column layouts were reset to the defaults and it’s not sorted anymore. I opened a few more libraries and they’re all reset to the default columns too. The sorting is off too.
So I reset the columns, closed and opened the library and it remembered them, sorting order too. It’s got to be a bug.
Also, I’m on a brand new install of High Sierra with FCPX 10.4 and new libraries too, not updated ones.
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Michael Hancock
Editor -
The name of the column it’s sorting by, in the browser, should be highlighted blue with an up or down carat on it to show how it’s sorting. Are there other columns you can scroll right to see? If so, check to see if it’s sorting by one of them.
It should work the same in the import window too.
EDIT: Added photo for reference.
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Michael Hancock
Editor -
Might have found a bug in the new color tools. Add the new Custom LUT effect, load a LUT. Add the new Color Wheels and make some adjustments. Make sure they’re both turned on in the effect panel, then copy and paste them to a new clip and the Color Wheels effect is turned off on the new clip. Can anybody else replicate?
Otherwise, these new tools are great so far.
EDIT: Looks like copy/pasting just the color wheels alone defaults to the effect being turned off. Weird.
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Michael Hancock
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[Shane Ross] “The only apps ProRes on Windows is licensed for are ultra high end systems.”
Scratch does ProRes on Windows and can be had for $650 a year, but if you’re willing to spend that just to make ProRes you’d do better to buy a Mac Mini and use it as a transcode station. So it’s not super expensive, but is overkill for a simple transcode.
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Michael Hancock
Editor -
[Bill Davis] “Multiple organizations all doing basically the same thing in different ways “because that’s the way we’ve traditionally done it.”
I’m just asking WHY. What’s the point? “
Quality control, automation, and simplicity.
There are tons of variables to consider when you make an h264 movie – profile, level, bit rate, VBR or constant, 1 or 2 pass, key frame distance, multiplexing, audio format/bit rate, etc… Each one can affect the overall quality of the file.
With ProRes and DNxHD/HR, that complexity disappears. It’s easier for an organization to accept one codec in very specific frame sized/frame rates and transcode that file to fit their systems than design their system to accept a 100 possible deliverables, which may or may not be good quality.
Plus, if an organization knows it will be getting a 1080p 23.976 ProRes file but will need an SD, 720p, and 1080p streaming files for their playback system, they can automate those transcodes using software from companies like Telestream.
And because they control the transcodes they can guarantee the quality of them, so clients don’t come to them wanting to know why their files look bad on their website. Plus, recompressing ProRes or DNxHD to a delivery codec like MPEG or h264 isn’t an issue like it is if they were given h264 files.
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Michael Hancock
Editor -
Glad it worked!
I still think Apple needs to do more work on their video I/O, or work with Blackmagic to get drivers that don’t have these issues and the stickiness and delays. These issues don’t exist with Avid and Premiere – just FCPX.
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Michael Hancock
Editor -
Try this and see if it fixes things.
https://support.apple.com/en-us/HT204780
EDIT: If you’re on Sierra, see if this helps:
https://www.fcp.co/forum/4-final-cut-pro-x-fcpx/27160-audio-midi-settings-missing-multichannel-in-sierra—————-
Michael Hancock
Editor -
[Shane Ross] “[Bill Davis] “Yes, but your PROGRAM doesn’t honor and preserve that decision across any possible future changes you might make. X does. ”
I’m sorry, what? What does that mean?”
Simply put, if you have a wide shot of a boat and 1/2 second before it ends you hear the boat horn, then you cut to a close up. The sound of the boat is going to be connected to either the wide shot where you hear it, or the incoming close up shot (if the sound carries through to that shot).
That’s the relationship that is preserved when you move shots around and/or trim them. If your boat horn sound is attached to the wide shot and you move the wide shot, the sound goes with it. If you move the CU and it’s attached to the close up, the sound goes with it. If it’s attached to the CU and you slip the close up, the frame that the sound is attached to stays attached to that frame unless you chose not to.
Basically – the attached clips timing to the clip it’s attached to is always preserved and carries with that shot, unless you choose not to. This can be nice – it can also be a headache. Just like moving stuff around with a tracked NLE! Sometimes it makes things easier. Sometimes it doesn’t.
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Michael Hancock
Editor -
[Oliver Peters] “As far as software up-conversions, Resolve will give you the best results of the various software options.”
Better than After Effects? That would be great news because Resolve is lightning fast compared to AE.
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Michael Hancock
Editor
