T. Payton
Forum Replies Created
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Scott,
That is actually easy quite easy, and I believe we covered it in the above posts. Just setup the roles for each of the channels you need to export.
For clarity here are some screen shots:
So assign you surround mix (single file that is) to 6 mono. Then setup and assign roles like this in the inspector:
Then when you export, you will use settings like this:
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T. Payton
OneCreative, Albuquerque -
Please excuse my jumping in here, but here is a couple of alternative ways, instead of assigning roles for each element in your mix.
1) Take your entire feature and make it a compound clip. You’ll want to create a new event to house this compound clip since it is in effect going to move your project to be housed in an event.
or
2) export your movie (or just the audio) as is with surround sound and then reimport into FCPX .
Then with that compound clip or complete clip export on a timeline, change your audio settings in the inspector for the compound clip to be mono channels for each. Then assign roles to each.
Then when you export as roles (as noted above) add a mono channel for each subrole and then a stereo mix at the end.
Obviously you’ll want to create a test of this that is short so you can confirm your workflow.
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T. Payton
OneCreative, Albuquerque -
Hey guys, I’m sorry I didn’t actually need help. I got it taken care of. Just poking some fun at Adobe, and realize that in the future if we just have the cloud apps, or even on the App sore, there is no chance of opening up in an older version because the old version wouldn’t exist!
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T. Payton
OneCreative, Albuquerque -
Bryant,
I was able to find some 5K R3D footage (not converted to prores), and it does key with the excellent built in Keyer. What are the specs on your machine, especially the video card?
WIth that said, unless you are working on something really short you don’t want this as your workflow in as Red files are played back in FCPX at 1/2 resolution depending on your machine (unless you have a RedRocket card which has other options). FCPX might find a way around this in keying but you’re performance will be horrible, and at least your preview key will look quite bad unless you render.
Instead I would highly recommend optimizing just the shots you need to key, which will be transcoded to ProRes 4444 files (not ProRes 422 as you mentioned). Those are going to be big files, but working in high resolution takes some investment, and you might need to invest a bit more (i.e. in HD space) to pull off what you are trying to do.
On the other hand if these keys are just rough and will be handed off to a compositing department for final work, then you might event consider doing your editorial work in Proxy. The keys will still look decent, but you’ll be gaining alot of speed.
Hit me up with any questions.
– T.
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T. Payton
OneCreative, Albuquerque -
I don’t have my 5K Red Camera with me (come to think of it I don’t have a 5K Red Camera) but I grabbed some 1080 green screen footage, up-resed to 5K prores, and brought back to FCPX and it keyed fine.
iMac 27″ 3.4 GHZ i7, 24GB Ram, NVIDIA GeForce GTX 680MX 2048 MB
Why don’t you try to create an optimized version of a clip and see if it keys.
Also, if you try a lower resolution is your keyed working?
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T. Payton
OneCreative, Albuquerque -
If you are in a pinch and don’t have the MPEG2 component, you can use Handbrake (free) to RIP to h264. Turn up the data rate quite a bit and then make sure it is not cropping. It has a decent deinterlacer so you can use that too.
BTW. I a bit puzzled about the MP2 QuickTime component because I switched from a MacPro to an iMac a couple of months ago and never installed the MP2 component, and yet MPEG Streamclip can still rip a DVD.
Go figure.
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T. Payton
OneCreative, Albuquerque -
Aoise,
Why don’t you contact me directly, visit my company website and then send a contact through there. onecreative.net or just use my name without the space and period and email me using my company domain.
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T. Payton
OneCreative, Albuquerque -
[Michael Hadley] “You say your event is 400 mb?”
Oh that is just the database file. currentevent.fcpevent
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T. Payton
OneCreative, Albuquerque -
Aosie,
One great thing about the FCP X workflow is you don’t really need to decide now. I would just work with the native files and if you find it being a pit pokey in the event or the timeline, then consider creating proxy or optimized. Optimized are full rez and are of course much larger than h264, while the proxy is just about the same data rate as h264.
Proxy works EXACTLY like full sized media with the exception of footage with Alpha channels (currently not supported with Proxy). You can set titles, graphics, etc. all in proxy without a problem. Then switch to your full res at any point you wish. When switching to proxy however you have to make sure all your media is converted to proxy, otherwise it will show offline.
Our shop does a large amount of work with h264 files and we rarely need to transcode. Especially with a single storyline with transitions and one or two layers of titles. One of our assistant editors was having to work on a 2007 iMac with only 4MB of RAM, over the network no less, and the h264 files worked no problem. Occasionally there would be a few clips that had speed changes, etc and were causing slowdowns so we just would optimize those clips (shift F to locate the clip in the browser and the right click to transcode). Once you get into significant compositing or color correction you might find the need to optimized all your used media.
Hit me up with any other questions.
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T. Payton
OneCreative, Albuquerque -
Marcus,
[Marcus Hardy] “Neat Video and Coremelt, two that I use heavily in this project”
[Marcus Hardy] “Our main, finished timeline is all compound clips, with compound clips inside each of them.”
Interestingly that this is exactly how I built my film with the exception of Neat Video. Can you give me a call. Find the contact number at my web site onecreative.net. Ask for T.
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T. Payton
OneCreative, Albuquerque
