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TOPIC: AVC-Intra 422 prep for 4k Mastering

AVC-Intra 422 prep for 4k Mastering 14 Aug 2017 20:47 #89894

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Hello,

We are gearing up for a documentary series shot on the Varicam LT in AVC -Intra 422 codec with mastering in 4k@24fps prores. We have tested out a few smaller projects, 3-5 minutes in length, and get pretty good playback and editing with the native AVC-Intra codec. We anticipate cutting three 26 minute episodes and wanted to see if anyone would recommend a proxy workflow to negate slow downs? Due to the data size I don't want to optimize the footage but we could do a proxy conversion if we need to. Any experience from long form editors with 4k mastering?

2013 Macpro 12-core dual d700s 128 ram. Shared storage with 800 Mbs throughput.
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AVC-Intra 422 prep for 4k Mastering 14 Aug 2017 22:06 #89901

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Make proxies, switch to Proxy in the Viewer menu, switch back to Original when ready. Pretty simple. Seriously, that's all there is to it. And for 4K (especially AVCHD) I'd highly recommend FCPX's proxy workflow.

Either specify to create proxies during import, or select a clip, or batch of clips in the Browser, right-click and go to Transcode, then make proxies.

You can always delete them via File > Delete Generated Files when done for archiving.
Last Edit: 14 Aug 2017 22:07 by FCPX.guru.
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AVC-Intra 422 prep for 4k Mastering 15 Aug 2017 00:04 #89903

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Thanks Ben,
It's been a while since we did proxies, I just wanted to see if anyone else had any experience with that Codec before.
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AVC-Intra 422 prep for 4k Mastering 15 Aug 2017 00:15 #89904

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When we do pure or mostly 4K projects, I use the standard FCPX proxy workflow,. Works great for us.
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AVC-Intra 422 prep for 4k Mastering 16 Aug 2017 10:11 #89922

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rusty wrote:
....gearing up for a documentary series shot on the Varicam LT in AVC -Intra 422 codec....tested out a few smaller projects...get pretty good playback and editing with the native AVC-Intra codec. We anticipate cutting three 26 minute episodes and wanted to see if anyone would recommend a proxy workflow to negate slow downs?....

Some 4k Intra codecs are so efficient you don't need proxy, esp. on a Mac Pro. One possibility is don't use it. If you use proxy, as already mentioned it is very easy and reliable -- for the default case.

That default case is letting it put the proxies inside the library bundle, and all editors have both original and proxy media in the original storage locations.

It gets more complex if you need the proxies outside the library to facilitate a "lean library" workflow, and yet more complex if you need a proxy-only workflow. My documentary team uses proxy-only for remote and downstream editors. This way an editor on a MacBook Air can edit proxy-only content from a portable drive. Complications: procedure is not well documented, but Ripple Training covers it in the 10.3 Media Management class: www.rippletraining.com/products/final-cu...-final-cut-pro-10-3/

Another complication in the proxy-only case is relink is unreliable, so the downstream editors must use a volume name and media path that's identical to the machine where the proxies were generated.

Another complication regards interchanging metadata with other editors via XML. There is a bug in FCPX that causes duplicate clips if the original filenames are not globally unique: www.fcp.co/forum/4-final-cut-pro-x-fcpx/...pon-xml-import#89486
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AVC-Intra 422 prep for 4k Mastering 16 Aug 2017 20:54 #89933

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Thank you for taking the time to give a some insight into this.

For our current project we have been using 2 identical Libraries pointing back to the original media and then sharing XML's from one editor to the next. 95% of the time it works without any problems, but we still end up having a few offline clips and it wants to create a new event every time you import the XML. I am new at XML workflows so probably my lack of experience. For our upcoming series shot on the Varicam, It sounds like we would best be served to create two external folders (1 with original media) (1 with proxy generated footage) outside of the library structure to get down to a lean library mode. I have two assistants helping me with the edit and I would still like to use XML's so we can pass off projects in progress. Can you tell FCPX where to place the generated proxy files so they can live outside the library?

I'll check into the ripple training session.
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AVC-Intra 422 prep for 4k Mastering 17 Aug 2017 00:23 #89936

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rusty wrote:
Thank you for taking the time to give a some insight into this.

For our current project we have been using 2 identical Libraries pointing back to the original media and then sharing XML's from one editor to the next...

If that is on a network, I'm not experienced at that workflow. Maybe someone else could respond.

rusty wrote:
... 95% of the time it works without any problems, but we still end up having a few offline clips and it wants to create a new event every time you import the XML...

XMLs can be on a clip, event or library basis. Do you mean loading an entire library XML? In my team we normally only load a single event XML, or if an assistant generates a multicam, just the XML for that clip. That seems to work (given the previous caveat about maintaining complete filename uniqueness.) However Panasonic is pretty good at that out of the camera, at least on our DVX200.

There is a 3rd part utility called MergeX which can non-destructively combine the XMLs from two different editors. However I don't think it works yet with projects, although this is planned: vimeo.com/204151001

rusty wrote:
...For our upcoming series shot on the Varicam, It sounds like we would best be served to create two external folders (1 with original media) (1 with proxy generated footage) outside of the library structure to get down to a lean library mode. I have two assistants helping me with the edit and I would still like to use XML's so we can pass off projects in progress. Can you tell FCPX where to place the generated proxy files so they can live outside the library?...

Yes that is what we do. We have a folder with the original media and a folder with the proxies. We pass metadata back and forth using XMLs. The general procedure is after import but before proxy creation, use the library inspector "modify settings" to select a new folder location, then create proxies, then consolidate. They will be placed in that folder. You have to be very careful to not import anything else not "in place" without switching back to the original location in Inspector, or to create more proxies without being pointed at the proxy folder. In my experience you must maintain the original volume name and proxy media path for downstream editors. Relink is unreliable in the proxy-only case. We just rename the portable drives to the name of the original drive, but that's obviously cumbersome.

Also this doesn't account for non-video assets such as graphics, photos or audio files. Those must be handled separately. There is a procedure for all this in the Ripple Training video, but even though I've done this a lot I have to watch the video each time to ensure I didn't miss a step. That is probably a good sign that the product needs enhancement :) However if we "dot the i's and cross the t's" it works on a 10TB library.
Last Edit: 17 Aug 2017 00:27 by joema.
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