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TOPIC: Offline / Online Workflow for 4K Sony FS7 II footage

Offline / Online Workflow for 4K Sony FS7 II footage 14 Jul 2017 15:09 #89405

  • joema
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lizjperl wrote:
haha yes I have space for proxies! just not the "rewrap" :/ copies But you're saying once FCP rewraps into its own "original media" I can delete that? If I want to relink to the 4k in FCP how would I do that without the original media? ....

I am personally afraid of relinking to anything other than the media which existed when the proxies were built. IOW don't try deleting rewrapped media then relinking to the camera-native files.

There are two scenarios: (1) Relink fails to original media (really bad), but very rare. In general FCPX proxy relink to original media is very reliable. (2) More common cases where the proxies themselves become invalidated, unlinked, or duplicate clips appear. IOW relink from the library to the proxies themselves fails. If you can afford to discard the proxies, relink to the original media, then rebuild the proxies, it's not so bad. But if dealing with multi-terabyte media, the proxy rebuild can take days. I'm still investigating the bounds of this issue.

In general I recommend building the proxies within FCPX. You can't share proxies with Resolve, so if Resolve needs proxies it must build its own. Maybe people who round-trip between FCPX and Resolve could comment whether they've used proxies on either/both side and how that worked.

Re how to handle the need to rewrap tree-oriented media (XAVC-L in your case), there is no single good answer. With AVCHD I re-wrap with EditReady. With XAVC-S I just copy the video files to a folder and import in place. If we get an XAVC-L camera, I'll have to decide whether to rewrap internally, externally, or copy the files outside the tree and import in place.

In general I prefer minimal folder-level organization before import since FCPX has such capable metadata tools. But however minimal the folder organization is, if you don't import "in place", those folders are changed upon FCPX import and rewrap. The media is essentially placed in a single-level series of date-named folders. IOW your familiar folder tree no longer looks that way after import and rewrap.

Furthermore since FCPX does not try to reproduce the folder tree on import (as Lightroom does), it will sometimes append a "uniquifier" suffix to duplicate file names. This is another common issue with Sony cameras that do not allow user-customizable filename presets, and which revert to C0001 for each new card.

Ideally camera filenames should be unique but if the camera doesn't support this renaming them before import might be desirable. However with some Sony formats, file-specific metadata is embedded within the XML and BIM files so a proper rename requires Sony's Catalyst Prepare software, which is now only available by subscription.

These are yet more reasons why many people just give up and only save the video files themselves. It is not the best practice but considering how FCPX, Sony cameras and Sony Catalyst Prepare software works, it can be the most expedient solution.
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Offline / Online Workflow for 4K Sony FS7 II footage 17 Jan 2018 21:43 #93435

  • canelson
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About dragging files from the finder or using the import window, there is one very important thing to keep in mind that we found out a couple of weeks ago.

This is the same file from the same location.
Timecode.jpg


If you drag and drop, the timecode will be: 00:00:00:00.
If you use the import window and copy the files to the Library, the timecode will be: 02:44:53:16.

DaVinci Resolve will read the 02:44:53:16 timecode from the original files when you import the files to it, so if you import your files to FCPX with "drag-n-drop", DaVinci won't be able to relink the files because the timecode will be different.
--
Matias Canelson
www.canelson.com.ar
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