Ronny Courtens
Forum Replies Created
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If you have a decent editing system you can easily work with native R3D files in FCP X.
– Put all your raw R3D clips as well as their corresponding .rmd files into a media folder on a fast external drive.
– Import the R3D files into your FCP X Library selecting “leave files in place”. This will not take up any extra drive space, FCP X will only create symlinks to the original media on the external drive.
– Select all the Red clips in the FCP X browser, R-click the selection and choose “Transcode Media” > Proxy media. Let FCP X create the Proxy files. This can take some time if you have lots of clips. Proxy files take up much less space than ProRes LT files and they are excellent for editing.
– When the transcoding is done, create your Project. Set the Viewer to “Proxy” and use the proxy media for faster editing.
– When the edit is done just set the Viewer back to “Original” and you will be able to export your movie to any ProRes format you wish, using the high quality raw R3D media as the original media for your export.
– Ronny
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When you have imported your clips, select all the clips from camera 1 and in the Inspector > Info tab enter “Camera 1” in the Camera Angle field. Set the Camera Angle for the clips of camera 2 to “Camera 2”, a.s.o.
When you create the multicam clip FCP X will put every clip that has a different Camera Angle name in a different angle.
– Ronny
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Mike is finishing a book about his experience with FCP X on this 100 million dollar movie. I’m sure we will find out much more about his workflow when it gets published. Should be an interesting read.
From the conversations we had he would like to see a better visual representation for audio stems based on Roles, something we agree upon. Tracks is something he has not missed at all, also something we agree upon.
– Ronny
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I you have ever cut a feature film you know you need a bunch of apps and utilities, no matter what NLE you use. Sync-N-Link X is a very robust and fast tool for synching up TC-jammed video with external audio, and it integrates perfectly with the FCP X metadata workflow. Saves you tons of time and money.
– Ronny
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As Bill says: import everything into one single Library. There is no documented maximum size for a Library, we have worked with HUGE ones.
For a feature film project there are many ways you can organize your clips. Some time ago Sam Mestman published a detailed description on how he had organized footage for a movie project. Maybe this can be useful: https://www.moviemaker.com/diy/movies-better-fcp-x-red-feature-film-workflow-part-1/
– Ronny
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… which goes back to the motivation problem: is there an apple team, hugely reduced, without pro-apps even on the mission statement, ready to play ball.
Short answer: yes, and they are extremely responsive and always open for suggestions. The mission statement is completely irrelevant to this.
– Ronny
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…it gets better and more FCP7 like with each new upgrade…
Funny, that’s exactly why we decided NOT to use Premiere at our facility (-: We intentionally went for something different, for better or for worse, and still no regrets whatsoever.
– Ronny
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FCP 7 is not “dead”, a lot of people are still using it. But if you are a freelance editor and you still want to be a freelancer in the future, you will need to know different NLEs and not restrict yourself to just one.
– Ronny
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People who use it LOVE it, so they become sales people for it not just folks that are using it.
I am seeing the same thing. Fcp.co is a thriving FCP X community with over 7000 active members. This number has been increasing exponentially over the past 6 months. I have seen quite a few new posts from people asking: “This is how I do (or did) it in Premiere, how can I do this in FCP X?”
FCP X is also evolving fast in very different areas of editing.
Last week I heard an interesting podcast by Chris Fenwick where Michael Glass explains why TED has decided to go all FCP X for editing the huge amount of programming they do (10 multicam conferences per day all over the world, 365 days per year). They used FCP7, they have tested all the different offering and decided to go with X. I found it interesting to hear they had no trouble at all finding experienced FCP X editors in NYC. Here’s a link to the podcast: https://digitalcinemacafe.com/2014/09/18/fcg082-ted-cuts-in-fcpx-feat-michael-glass/
On the other side of the editing spectrum a big name in the live broadcasting world, Vizrt, have announced FCP X integration with their Viz One MAM and with Viz Engine, one of today’s most powerful rendering engines and real-time compositors of graphics and video. This is the story: https://www.fcp.co/final-cut-pro/news/1506-viz-one-integration-with-final-cut-pro-x-will-support-meta-graphics
So yes, I expect FCP X to continue to grow significantly in 2015 as well. How this will affect the “pie charts” and the “grids” I don’t know and, frankly, I don’t care. Every software has its place and its user base. Whenever I have to decide which software will be the best for our line of work, a pie-chart is the last thing I will look at (-:
– Ronny
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This problem has been solved. At the bottom of his angle viewer the OP had a long extended audio angle that pushed all the video angles above it to the right. That’s why he only got black video on the timeline. Trimming the audio angle until the video angles returned to the start of the Angle Viewer solved the issue.
– Ronny
