RickLFoy wrote: ... I always did the syncing after I imported my content never before importing. It worked like that with me before so I don't know what would have been different. now... I will try your steps on a different project since already started manually editing it. Thanks again I'll let you know how it turns out.
RickLFoy wrote: ...I select 3 different files (recorded at the same time) with the syncing using audio.....
Thanks for that correction. Yes if you select a bunch of red "missing media" files, then do File>Relink Files, and pause at that screen, you can cursor down and one by one, it will show the expected file pathname at the bottom. However there's no way to obtain a comprehensive list.
Tom Wolsky wrote: If you try to relink a file the relink dialog I think still shows the expected filepath.
DaveMaine wrote: I am using FCPX as a media management tool as well. What I do differently is leave the media in place wherever it exists, and just bring in the file reference. It keeps the library much smaller in the single library...
cofe wrote: ... Why not FCPx as your MAM? Depending on your project sizes you can make libraries self contained (store media within the container)...I store the original media externally, but keep the FCPx proxies within the library container. I edit in proxy mode and when I need footage from another project I just open that Lib and FCPx will pull the enquired proxy into the current Lib when I edit the clip into a timeline. When I need to online I either just connect the online drive(s) or copy it into the current projects external online media location via the consolidate command.
You could even create custom Libs that hold all those generic clips you encounter over time for quicker access.
This system needs a little planning and discipline but you avoid another software and all the potential hassles Joema listed. It also might be nicely assisted with PostLab, even more so with a proxy workflow in the cloud via their upcoming 'Drive' feature.
jinhim wrote: ...I work with many effects and find my gpu processor has a large amount of headroom but GPU memory is maxed out when I render and export.
I've read that the GPU speed improvement is potentially double with the 5600M, will I see a speed boost if I upgrade to identical machine with the 5600 M ?..
substance3 wrote: ...I've not heard back yet from support but hopefully this is something that can be fixed.
Glitchdog wrote: ...What I was hoping to find is a MAM that can sync with all the metadata in FCPX. BUT since I've just started wrapping my head around the FCPX metadata, I wasn't sure if I really needed something (if it exists) that can sync with all the FCPX metadata. Do I need all the FCPX metadata accessible in an asset management setup?
Glitchdog wrote: ... budget non-profit, for a media asset management system. As I look more at the rich metadata within Final Cut, I don't see much out there so far that has a really good ability to read/write FCPX metadata.
Our setup is currently one editor with a second one in place in the next year or two. We want to work off our internal Windows server currently (a MacMini server in-between is fine), then eventually migrate to the cloud, once pricing has dropped to fit our budget. Would like a system that doesn't nickel and dime you to death. Wondering what others are using that you feel is a good marriage between FCPX and the MAM?
greg2020 wrote: I made a new archive on my external hard drive.
I entered some big movie source files and did cut and edit them in a project / event.
I exported some of the movies and deleted all the footage and projects.
Anyway the archive file Testmovie.fcpbundle in 20BG![.../quote]
Disable background rendering in FCPX preferences, then select library in left sidebar and delete all render files with File>Delete Generated Library Files>Delete Render Files>All.
To do this in a more guided and safe fashion, get Final Cut Library Manager: www.arcticwhiteness.com/finalcutlibrarymanager/
dgbarar wrote: ...The thesis that we have had is that the 10 bit files showed Matrix Coefficients and Transfer Characteristics for BT.601 and that is why Compressor is shifting the RGB parades up when transcoding to Proress 422. Yet, so does the 8 bit .h264 file. Yet, Compressor transcodes to Prores 422 without shifting up the RGB parade...
dgbarar wrote: ...I know that the file was HEVC 10 bit 422. I believe I set the camera up Long GOP--but I do not recall. The file did open in FCPX. It did not open in Compressor...I will upload the file to the URL that you provided....
dgbarar wrote: I would like to read up more on this potential issue with REC601 in metadata. You mentioned "Invisor" but I do not know who this is. Can you reference a URL?
dgbarar wrote: There seems to be more issues with Compressor. I went to camera store today and recorded a 10 bit HEVC files from a GH5. I wanted to see what Compressor would do with these files. No go. Compressor put it in Completed as Failed. So there seems to be other issues with Compressor and 10 bit HEVC. Even QuickTime would not open this file...
dgbarar wrote: ...I also transcoded joema's file with Adobe Media Encoder (AME) to Prores 422. AME does not shift the RGB parade up and does a better job of preserving the original histogram...
Turn off Enable Power Nap, also turn off screen saver. Make sure there is no timeout whatsoever on screen activity, whether for security, power savings or anything else, including screen auto-lock timeout. Turn down the brightness. Let it run overnight and see if that makes a difference. When you check in the morning, the last window config should still be up.
Despite making those changes, if the transcode seems seems to have halted, open a terminal window and type "last reboot". That will give the MacOS reboot history. If the machine somehow encountered a fault and restarted it will tell you.
I just tested this using X-T3 4k/24 10-bit HEVC F-log material, sending it from FCPX 10.4.8 to Compressor 4.4.6 on MacOS 10.15.6 on an iMac Pro, and a standard gamut library. I used both ProRes 422 and ProRes 4444XQ outputs.
I don't see any shift on the RGB parade between the original camera clip and the ProRes exports. Try this test clip and see if you get the same or different results: www.imaging-resource.com/PRODS/fuji-x-t3...-h265-FLog-10bit.MOV
jacob.brown wrote: I have hundreds of clips which I want to put into one timeline. When I try to import all the clips from my browser to my timeline all the clips are in reverse chronological order. I tried to first sort them by date created but this didn't fix when I imported. Anyone know how I can do this?...
I worked on a doc last year which had 8,500 clips, 220 camera hours and 130 multi-camera interviews. It was all in one library, using just three events to contain each major shooting location. All other curation and organization used FCPX ratings and keyword collections. This worked fairly well on an iMac Pro and dual 32TB OWC Thunderbay 4 RAID-0 arrays, one primary and one backup.
- 15,600 clips, appx 212.2 hrs of footage.
- working remotely with producer (using PostLab)
Below is the response I posted to the same question on another forum:
You say Reveal in Finder showed zero length files for the FCPX media files (apparently inside the library). This implies the full contents of the library (inc'l those files) were not successfully copied off the failed RAID array -- despite the message "you can still copy files off the disk".
In theory a single drive can fail on a RAID-5 array and the data will be OK but in reality many things can go wrong at file system level or in an application database as used by FCPX or Lightroom. This shows how RAID by itself is not a reliable backup, but that's a separate issue.
Even given the original camera card with intact files, it might not relink to those if FCPX renamed the disk files as part of the ingest. In some cases FCPX will append a "uniquifier" suffix of (fcp1), etc to the file to prevent duplicate filenames. If it does that it might not relink to the original card file because the filenames are different.
Due to the filesystem damage from your disk crash, apparently the disk filenames have also been changed and have a square bracket suffix containing numbers. So you might not be be able to look at the salvaged disk file and see the original disk filename, which FCPX may have itself renamed before the crash.
Here is one thing you might try. If possible rename the current disk drive where the salvaged data and libraries are. Rename it to the original disk name used before the RAID failure. Also place the library and media on the salvaged drive in the same path locations as on the RAID before the failure. Then see if that makes any difference. There is a very low probability of this helping but in some cases FCPX resolves file paths based partially on the drive name. That info is stored in the FCPX library which we cannot change, but changing the drive name to the original name might help (although I'm not optimistic).
If that doesn't work, the only remaining step might be to try filesystem repair or data recovery on the failed RAID. Something about that crash damaged the filesystem, causing the zero-length files. The RAID-5 failover might have protected the data but the filesystem got munged because of an abrupt shutdown. Sometimes that can be fixed. You could either try Disk Utility First Aid or a 3rd party utility like Disk Warrior (which is very good). That only works on HFS+ not on APFS drives.
Don't try that if the data is of such extreme importance that a professional recovery service is warranted. They can sometimes recover the data (at a price) but only if you don't mess it up trying yourself.