Media management software is worth whatever you pay for it. But only as long as you truly need it to manage your media (which means your shop will save much more money than the software costs) and if your coworkers will all willingly use it properly.
Most DAM systems force users to follow strict protocols that do not fit into how creative shops like to work. So DAM becomes a tedious and odious interruption instead of a dramatic time and labor saving application that returns on the investment quickly.
Knowing where everything is stored and how to find it instantly is only possible if you deliberately put it where it's supposed to go and ten tell the DAM where it is. You adhere to the DAM protocols or you've wasted your money.
DAM systems can only be simplified so far and then they become no more than glorified folder structures. A good DAM searches on every bit of metadata available.
Sorry to bring up and old thread but I noticed that Keyflow has re-addresed their pricing strategy. For a single user the price is now 49.99. Unfortunately, if you had previously paid $299 it looks like you still have to pay to upgrade to Keyflow 2.
So we sometimes get media that is ProRes and h264. My question is how would someone manage the media the best way for a Shared FCPX environment?
Oh yeah the ProRes and h264 files have the same name and stills travel with video folders.
Depending on the production we get the media as followed:
Project Name - Media - Day 01 - Camera A - Card 1 -h264 - A00112345.mov
Project Name - Media - Day 01 - Camera A - Card 1 -ProRes - A00112345.mov
or which makes relinking easier in FCPX...
Project Name - Media - h264 - Day 01 - Camera A - Card 1 - A00112345.mov
Project Name - Media - ProRes- Day 01 - Camera A - Card 1 - A00112345.mov
AppleGuru wrote: So we sometimes get media that is ProRes and h264. My question is how would someone manage the media the best way for a Shared FCPX environment?
Oh yeah the ProRes and h264 files have the same name and stills travel with video folders...
Below is just personal preference.
- Rename the files to add H264 or PR422 to the suffix. Yes they are already in separate folders. Also you can check the codec using CMD+I, but but if the files will be traveling around this can avoid confusion. If you are planning on relinking between H264 and ProRes files, don't do this. Alternatively you could do this with Finder tags, but those tags will not survive certain workflows such as DropBox upload via the web interface (only using the DropBox Finder interface).
I have also seen unpredictable Finder Tag behavior in a NAS environment. So if using Finder tags for any purpose whatsoever in a shared or upload/download environment, test the workflow thoroughly -- including Spotlight search of multiple criteria, not just filenames.
- Re "stills travel with video folders", in general I prefer not importing unprocessed stills to FCPX. Yes it handles them but it's not an ideal photo editor. Normally you want any still to be converted from raw then optimized via Lightroom/Photoshop, a high-quality jpg exported and only *that* imported to FCPX. Even .jpg originals usually benefit from "sweetening" in LR/PS. Having the stills in the same folder tree is OK provided that does not cause accidental import to FCPX. OTOH maybe the original stills can be viewed as a "temp" and if later selected for the final edit then processed for improvement.
This is for a video-heavy production. For a stills-heavy production (e.g, Ken Burns documentary) a different workflow might be used.
- If you get confused about what files use what codec, this can be queried via Finder and they can be segregated into folders, tagged, etc. This also applies to resolution and bit rate. In Finder:
1) CMD+F to bring up search
(2) Select Kind>Other
(3) Select File Extension, Codecs, Video Bit Rate, Pixel Width and Pixel Height
Afterward when doing CMD+F you can search on those items.
For H264, pick Codecs matches H.264
For ProRes, Codecs matches ProRes
For 1080p, pick Pixel Height equals 1080
For UHD 4k, pick Pixel Height equals 2160
For BlackMagic or other cameras which shoot DCI 4k, pick Pixel Width equals 4096
For high-bit rate material pick Video Bit Rate is greater than about 200000 (kbps), which means 200 mbps
Sometimes it's useful to query on file extension such as .mov or .mp4
Note: you can also do logical NOT queries, stack multiple query items, or even create logical AND/OR groups by doing OPT+click on the three dots which replace the + sign on the button.
Unfortunately there is no Finder query for frame rate.
I have a project where there are possibly multiple copies of the same source.
This is obviously using up a lot of un-neccessary disk space.
I think the editing is now finished awaiting final OK from the client
What is the best way to delete un-used source media?
If you only need the material in the project (aka timeline), create a "transfer" event within your current library, copy the project to that event, then create another "archive" library, drag/drop the transfer event to the archive library then pick "consolidate" in the library inspector. Only media used in the project will be copied to the archive library.
The reason for using a transfer event vs drag/drop of the bare project is to avoid some FCPX behavioral quirks.
Re "multiple copies of the same source", do you mean multiple physical media files or multiple clips within FCPX? You can sometimes have duplicate clips within FCPX with a 1, 2, 3, etc. suffix which still reference the same media file. This does not waste any space.
If you have multiple copies of the same on-disk source media and your project references both copies, that can be difficult - if the filenames are different. If the filenames are the same but split across two folder trees, in theory you could delete one then relink within FCPX back to a single tree. Obviously do anything like that very carefully with plenty of backups, including file backups of the library bundle at each step.
To avoid issues like this it's best to have a methodical offloading and ingest procedure which includes file de-duplication. There are many tools for this but I use Gemini 2:
As a general procedure it's best that all media files have a globally unique name, ie across the current project, past projects and future projects. This avoids certain FCPX quirks when loading XMLs, plus makes post production more efficient by providing a single unambiguous file ID. It can be achieved by renaming the files and adding a 5-digit incrementing numeric suffix. There are various ways to do this but I use "A Better Finder Rename":
I'm in the middle of a nightmare scenario. I have been given a project in the middle. It has several multicam clips, lots of media, and the project has been broken up into several libraries. They're all referencing each other, so, in the event one of them goes down they all go down. I want to propose that we streamline the project so that we aren't sitting on a time bomb. Does anyone have any recommendations for how I should go about doing it?
2 editors. Not on shared storage. Each editor has 2 drives for the project (1 for media. 1 SSD for libraries)
Any help would be greatly appreciated. I've been a Premiere/Avid guy for 10 years but recently switched to FCPX and love it. I just need to get a crash course in FCPX data management and libraries because it still feels really foreign to me. Thanks everyone! This is a great forum that has saved me many times over the last month.