Oliver Peters
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It’s all good. Of course, if he still had the original software discs and codes, he could theoretically install FCP6 on another Mac (depending on OS) and work directly. But I didn’t get the impression that was an option.
– Oliver
Oliver Peters – oliverpeters.com
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[Mark Suszko] “I bought Affinity but it may be that my “reflexes” from using GIMP and Photoshop are making it harder for me to grasp Affinity’s User Interface”
Might I suggest reviewing their very good tutorials?
https://affinity.serif.com/en-us/tutorials/photo/desktop/
– Oliver
Oliver Peters – oliverpeters.com
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[Robin S. Kurz] “For ME at least that means transferring the edits. Your answer
“You have to be able to open that in FCP7 and export an XML file.”
suggests to me that that is what you interpreted it to mean, too. Only I don’t see why and where FCP 7 is needed.”Again, based on the original question, it sounds to mean that he does not possess FCP6 (Mac died), nor an XML for the project, just the project file and media files. If he wanted to pick up and continue or modify the edits on the FCP6 project, he would have to open it in FCP6 or FCP7. My suggestion for FCP7 was merely because it would be most likely that he could still find someone with a working copy of FCP7 from which he could generate the required XML in order to move the project up to FCPX.
– Oliver
Oliver Peters – oliverpeters.com
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[Robin S. Kurz] “So I guess the long answer is yes”
I think you misunderstood his question. The original question was whether FCP6 files could be opened in the newest software, since his old Mac had died. I would interpret this to mean can you directly open or import FCP6 Project files into an FCPX Library. Not XML files. To my knowledge that’s not possible.
– Oliver
Oliver Peters – oliverpeters.com
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[Greg Ball] “My question is this. If I save the BPAV folder on my external drive, then import everything into the FCPX Library, can I still leave everything in place on my external drive?”
You can set your library settings to put all imported or generated media into a specific location like an external drive. The pulldown on the first choice lets you pick a location.
Or you can choose to leave the media in place when you import new files.
– Oliver
Oliver Peters – oliverpeters.com
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[Eric Santiago] “To date, I haven’t met a client that wants to use Resolve.”
While I have yet to run into a client who wants me to edit on Resolve, I’ve run into plenty who think they know how to color correct with it. They grade the daylights out of one shot and say “make everything else look like that,” without any concept of shot-to-shot flow/matching or the time constraints involved versus their budget.
[Eric Santiago] “I’ve gone through the wringer with directors, producers, etc.”
I run into a few that start a project in a given NLE (used to be FCP, now generally it’s Premiere) and make a complete mess out of things. Then they want me to pick up from there. Hey, but that keeps us working!
– Oliver
Oliver Peters – oliverpeters.com
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[Steve Connor] “I’d always assumed I would need to use Proxies and I’m in the middle of seeing whether PPro or Resolve is quicker”
If you use the Adobe workflow, it’s self-contained and generally the proxies are there without any extra effort. You can simply toggle between proxy and full-res files. If you create proxies externally, you then have to go through a process of attaching those files to the high-res in Premiere, so that you can then toggle between. Audio configuration of tracks becomes an issue in that case.
The alternative is to create low-res (ProResLT or ProResProxy) files to edit with – using Resolve/AME/Compressor (never introducing the full-res files into the Premiere project). Edit with the low-res as if they were master files. When you are done, relink in Resolve to the full-res. Or remove/hide the low-res and relink in Premiere.
– Oliver
Oliver Peters – oliverpeters.com
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[Steve Connor] “Project is being “led” by a graphic designer”
Ugh. It would make more sense if it was a director who also edited or if you were working with a team of editors who only knew Premiere. Oh well.
– Oliver
Oliver Peters – oliverpeters.com
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BTW – why are you being “forced” to use Premiere Pro on this project?
– Oliver
Oliver Peters – oliverpeters.com
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[Steve Connor] “Venice using X-OCN codec”
Would it be easier for you to use the built-in Adobe proxy workflow? Or would the transcode be too slow/taxing on your MBP?
– Oliver
Oliver Peters – oliverpeters.com
