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Joe M. replied to the topic 'Missing files mystery can you assist?' in the forum. yesterday

Cameron Jake wrote: Having downloaded the original file again.
My issue now is the media has dropped back in and is visbile in the time line - i.e. the same file name - however the clips as they were are completely all messed up.. is this the result of whats happened or is there a way to find them again in the exact clip order and section that they were in?


If the newly-downloaded clips on disk are truly the original clips, any edits in FCPX should show the same as before. At least that is the current FCPX behavior? What version of MacOS and is all media on an HFS+ volume, not ExFAT or a NAS?

FCPX does many internal checks before relinking files, so if manual relink is successful they usually display in FCPX correctly. Some have argued the internal checks are too rigorous and sometimes it refuses to relink even when the file is valid.

If by chance you imported camera media, then created optimized and proxy media, then deleted some optimized files, and then re-downloaded the original camera files, maybe that would cause it. Even in that case it should relink OK and display properly in FCPX, just trying to think why it would behave this way.

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Joe M. replied to the topic 'Missing files mystery can you assist?' in the forum. 2 days ago

Yes, this indicates you deleted some of your original media. If you re-download the media, and if it has the same filenames you should be able to relink to that, preserving your full-res edits.

FCPX does not show the pathname of each file used in a library. The 3rd-party tool Final Cut Library Manager has an add-on option "Export to CSV" which will make a spreadsheet of all file paths in a given library. This can make it easier to locate your physical media in cases like this, plus may avoid accidentally deleting it in the first place: www.arcticwhiteness.com/finalcutlibrarymanager/

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Joe M. replied to the topic 'Google Chrome True Story' in the forum. 3 days ago

Brave is based on the same underlying Chromium code. If that works for you, OK. If you ever have any performance, stability or reliability issue with FCPX I'd suggest temporarily not running Chrome OR any browser based on Chromium.

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Joe M. replied to the topic 'How to change proxy media back to optimised????' in the forum. 3 days ago

ta69 wrote: ...proxy media...created it on the last external hardware I was using. Now it says missing proxy for every clip and relinking doesn't work... I can see it all there in the optimised media folder feel like I'm missing something...


As FCPX.guru said relink for proxies is not available. The volume name where the proxies were originally generated is burned into the library, and this cannot be edited or changed, even using a SQL database editor on the tables within the library. Short of rebuilding them all proxies, your only option is rename the drive the proxies are now on to the original drive name.

There is an undocumented method of manually copying Finder aliases within the library's folder where the symlink pointers are. This will sometimes force a relink of proxies but it is not reliable, esp. if the drive name has changed: "Cheating Final Cut Pro X proxies...using aliases": www.fcp.co/final-cut-pro/tutorials/1828-...ant-by-using-aliases

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Joe M. replied to the topic 'Google Chrome True Story' in the forum. 3 days ago

Chrome is poorly behaved and can saturate the MacOS VideoToolBox framework, causing FCPX to unpredictably hang or crash. This is random and unpredictable, so it may work OK for periods then hang, crash or behave oddly.

That is actually a minor problem by Chrome standards. Last year a Chrome installer data corruption bug rendered many Macs unbootable and shut down production of various TV shows: variety.com/2019/digital/news/mac-pro-av...keystone-1203348549/

Is the Chrome VideoToolBox problem fixed on the latest version of Chrome? Does it only affect certain versions of MacOS? If fixed today will a future Chrome regression cause it to happen again? I personally do not intend to find out.

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Joe M. replied to the topic 'FCPX crashing on every Master export' in the forum. 4 days ago

Irishrebel wrote: Symptom #2... I downloaded that Preference Manager app, selected FCP in the menu, and trashed the preferences. Problem solved. That was it!


That is great news. For anybody reading this, be advised you can reset FCPX preferences without a 3rd-party tool. Just launch FCPX while holding CMD+OPT keys: support.apple.com/en-us/HT203477

However a number of people experiencing crash on export when running old versions of FCPX tried reseting preferences and this did not solve their problem. But it's an easy thing to try.

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Joe M. replied to the topic 'Overdubbing Footage for Translation' in the forum. 6 days ago

docsound wrote: ...Does anyone have an idea how to record translator tracks with the Source-TC of the raw material and then create synchronized clips in FCPX from one video file each with the matching original sound and the translator recording?
It would be great to have the translator recordings directly connected to the raw material and have the possibility to log them like regular clips in the browser or create transcripts via the Simonsays plugin, which are then in the notes with the logged range...


In past projects my team has created low-res interviews with burn-in timecode, delivered that to translators, then either (1) use written translated transcripts with timecode per line or (2) synchronized audio translations, keeping within about +/- 1 sec. Obviously the latter is more difficult. Typically a translator would need to first make their own transcript, then read from it while listening to the material on headphones and narrating the translated audio. If they don't do that they cannot maintain sync.

In case #1, the editor does a provisional edit based on the transcript and timecode. It will obviously be rough and will require final checking by a bi-lingual person. In case #2, the English and foreign language tracks are roughly synchronized within +/- 1 sec and an English-speaking editor can use the English track, making sure any select or cut includes both audio tracks. I don't think most doc teams do this; it is too labor intensive.

In FCPX, you want each interview to begin as multicam clip with synchronized external audio, even if there's only one camera and one audio source. You can then open & edit the multicam clip and add the timecode effect. You don't necessarily put it on a timeline for this. In FCPX you do as much in the Event Browser as possible.

A key item is not getting source and project timecode mixed up. Use one or the other for burn-in timecode. If you use project timecode (which starts at 0), then later trim the timeline to remove junk before the take begins, then *that* must thereafter be the reference point for subsequent editing. If the pre-take header is re-trimmed after the translator has delivered a transcript with project timecode per line, then it will no longer match the burn-in timecode on the trimmed timeline. The FCPX timecode effect does not allow an odometer-like "reset to 0" for project timecode after the timeline begins.

For #1 (transcript method) or #2 (synchronized audio translation method) you have the option of the final product using translated subtitles or translated voiceover. In general, voiceover is considered a better presentation, but is more difficult. It ideally requires a voice actor where the gender, age and emotional inflection matches the original subject.

For method #1, the editor makes a "paper edit" using the transcript, then edits the foreign-language interview based on the timecode per line on the transcript, then maybe adds provisional subtitles, then a bi-lingual person has to check it.

For method #2, the provisional voice translation is useful for editing with synchronized English/foreign dialog, but the inflection and gender/age match is often not attuned for the subject. So after the final edit is done, re-voicing of the final timeline translated dialog is needed. Whichever method is used, a final check by a fluent bi-lingual speaker is required to ensure no mistakes or sync issues.

A major issue with voiceover translation is grammatical density. E.g, for Spanish-to-English, English is more concise per unit of time so a translator or editor will rarely "run out of room". For English-to-Spanish, it can be difficult to fit spoken words into the available clip time. This should be studied for the languages involved, else the editor can find themselves boxed in.

In theory it's possible to use Lumberjack Builder to do text-based editing of an interview in English which brings along the synchronized foreign-language audio in the multicam. I have not tried this but intend to study it for future projects:

www.lumberjacksystem.com/builder-help/
youtu.be/nM40-xyPQ8Q

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Joe M. replied to the topic 'Green Glitchy Errors in FPCx 10.4.8' in the forum. 7 days ago

Boltman wrote: ...I'm running MacOS, 10.14.6, High-Sierra. RAM is running low. I just bought some RAM but it's asking to upgrad to Catalina and I'm not sure if I should. IF more RAM solves it then I'll just do that...


If you don't want to upgrade to Catalina, you can upgrade to Mojave: support.apple.com/en-us/HT210190

Catalina drops all 32-bit support which for some people is an issue. You can examine if you have any 32-bit apps by doing Apple Menu>About This Mac>System Report>Software>Applications, then sort on the right column 64-bit and look for any apps which are 32-bit. Those will not run on Catalina. Note this column only appears on Mojave and earlier, not on Catalina.

Greenish image pixelation is sometimes seen if the the codec is not working right. Typical causes are poor bitrate (for streaming) or a malformed video file or platform does not fully support that codec. You see it more on oddball devices like security cameras, web cameras, etc. You can also see it if the device is newer and the computer or software versions are quite old.

Excepting old Mac Pros, any Apple computer since about 2011 has an Intel "Sandy Bridge" or newer CPU which supports Quick Sync hardware-accelerated decoding of H264. Newer Macs have newer Intel CPUs with more advanced versions of Quick Sync but even the 2011 model should have this.

If your computer is short on memory or nearly out of disk space, that could also cause it.

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Joe M. replied to the topic 'keeping optimised media as main media' in the forum. 1 week ago

Examine whether any of your DJI media is HEVC. There are definitely issues with some of that on FCPX 10.4.7 and 10.4.8. 4k HEVC material from our Inspire 2 will crash FCPX almost every time. We normally shoot ProRes but when testing it we shot some HEVC.

Also there may be some image quality issues on certain DJI HEVC variants. We saw banding on the Inspire HEVC and I think on the Phantom 4 Pro HEVC if shooting D-Log. That did not happen if shooting DJI H264. I think newer DJI drones have 10-bit HEVC which might be better.

Due to the current FCPX HEVC reliability issue, any DJI HEVC material should be transcoded to proxy or optimized media. In some cases FCPX may hang or crash during the transcode, so watch for that. If it does your only option is transcode it externally using Handbrake or some other tool, then import to FCPX.

If your HEVC is 10-bit you don't want to externally transcode to 8-bit H264 because you lose bit depth. You could use the free version of Resolve to transcode to ProRes 422, then import that to FCPX.

Re plug-ins, all current FCPX plugins except for Motion templates run within the process address space of FCPX. This means any bug in any plugin can crash or destabilize FCPX. Supposedly this will be improved in the future as plugin vendors move their products to FxPlug 4 which can enable out-of-process plugins, thereby preventing a plugin bug from crashing FCPX: developer.apple.com/documentation/profes..._minor&language=objc

Some plugin vendors have a reputation for producing more reliable products than others. MotionVFX is well regarded, Pixel Film Studios less so.

I suggest you first transcode all media to either optimized or proxy, then edit several days and see if it hangs. If so, then remove all plugins from Pixel Film Studio, delete/rebuild all cache files, then try again.

Do not run Chrome or any browser based on Chrome. It mis-uses the MacOS VideoToolBox framework and this can destabilize or crash FCPX.

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Joe M. replied to the topic 'Can't find media' in the forum. 1 week ago

Schwalbach wrote: ... I know the alias points to another folder which was probably on other folder on the original HD....I will have to locate this folder...


The pointers are symlinks but they show in Finder as "aliases", but they are not true Finder aliases. If the original files have been moved, you obviously want to see where that symlink is pointing. That can help you find the media since it contains the pathname and filename of the linked file.

Unfortunately Finder only shows the location of the symlink pointer itself, not where it is pointing. There is no GUI tool which will show this, however it is easy to obtain in terminal if you have even slight familiarity with it. This is safe and not difficult, if you are careful:

You just list the full path to the symlink inside the library using "ls -l" and it will show you where it expects the file to be. E.g for a red missing clip for file AdrianaTestEdit3.mp4, given the FCPX library is named TestLib1, located in /Movies, and the event name is 5-9-20. You type this in terminal:

ls -l /Users/josephmarler/Movies/TestLib1.fcpbundle/5-9-20/"Original Media"/AdrianaTestEdit3.mp4

Returns: -> /Volumes/SamsungT5_8/AdrianaTestEdit3.mp4

That by itself will not fix anything but it indicates where FCPX expects the file to be. This verifies what filename it's looking for and on what drive. This may allow searching for the current file and verifying the location and file extension.

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Joe M. replied to the topic 'keeping optimised media as main media' in the forum. 1 week ago

steve223 wrote: I'm a YouTube creator and shoot a lot of 4wd trips, so new trips every week. A lot of the footage I like to keep for reference .... I really should have no issues Editing on a 12 Core 2020 Mac Pro and Vega 64 but since switching to new MacPro and Catalina FCPX is running just crap slow and buggy (same addons as under Mojave)


Side point: the 2020 MP doesn't have Vega 64, the iMac Pro does. The Vega options for the MP are Vega II and Vega II Duo.

I upgraded many machines to Catalina, including my 10-core Vega64 iMac Pro, and so far haven't seen any performance problems.

However -- if you're shooting 4WD trips this implies H264 or HEVC codecs, probably 4k. Some codec variants can be difficult to edit smoothly on any Mac, even the mighty Mac Pro. This is because the T2 or AMD UVD/VCE hardware acceleration varies in how well it handles certain formats. E.g, 4k 10-bit All-Intra H264 from a Panasonic GH5 or S1 is very sluggish to edit. Likewise Sony XAVC-S is pretty laggy.

For us documentary and Youtube people this is frustrating, We'd love to have hyper-smooth editing of all common "Long GOP" formats without transcoding. That would eliminate creating proxies or optimized media. The problem is under the covers there is no single "H264" or "HEVC" format. There is a bewildering variety of encoding parameters, some of which work better with certain hardware accelerations, and others do not.

For each method of hardware (Quick Sync, T2, UVD/VCE) there are *many* sub-versions - each with their own limitations. A given sub-version might only work on a given resolution or bit rate or GOP length or with a certain "reference frames" count. This could be likened to a powerful car engine only running well on premium fuel. Anything outside that sweet zone and the transcode accelerator will fall back to less efficient methods or even pure software. This is poorly documented and no utility reveals it.

Your laggy performance likely comes from one of two sources: encode/decode or effects. 3rd-party effects vary greatly in their performance, and sometimes have version dependencies on the FCPX host process or underlying MacOS. I suggest you evaluate all your 3rd-party effects and make sure they are up to date.

Some plugins like Neat Video are very compute-intensive, but recent versions are much faster. However to fully realize this you must run the built-in Neat optimizer which runs a quick benchmark to evaluate all combinations of CPU cores and GPU, and recommends the best mix. It is in the Neat Video menu Tools>Preferences>Performance>Optimize Settings.

In general disable background rendering in FCPX preferences. Then delete all render files by File>Delete Generated Library Files>Delete Render Files>All. You can do a one-time manual render of the timeline via CMD+A to select all clips and CTRL+R to render. Afterward you can periodically re-render clips as needed. This avoids constant background rendering and building up of render files (which are never auto-deleted).

In general saving your projects with original camera media is OK. If that is compressed Long GOP media, it will be fairly small. You might have to rebuild proxy or optimized media before resuming work but optimized media is about 6x the size of 100 mbps H264, so the space penalty is large. Proxy media is somewhat fragile due to FCPX not providing relink, and if the drive or pathname ever changes (which often happens in a backup) the proxies won't work and usually cannot be fixed.

If you state more details about exactly what you're editing which is slow, we might be able to help. What codec, what camera, what effects. As many details as possible about the behavior.

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Joe M. replied to the topic 'Issue with iPhone Footage' in the forum. 1 week ago

DaveF wrote: I had a similar problem recently, in the end, I converted the iPhone footage to ProRes with ff-Works then imported to FCPX and that sorted it.


The OP apparently rendered the timeline -- it's blurry but I can't see any render dots. If rendered, all playback and subsequent export encoding is generally from the ProRes 422 render files, not the source media files. So in a sense it has already been transcoded.

However there are some bugs in the render tracking system so this does not always happen. It would be safer to transcode to optimized media within FCPX. If that transcode hangs or the clips look malformed, then he should state that.

All we know is it was "filmed on iPhones". Some of those record in HEVC. There are some issues with FCPX in 10.4.7 and 10.4.8 in handling some HEVC codecs, although I haven't seen it on an iPhone myself.

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Joe M. replied to the topic 'FCPX Keeps crashing' in the forum. 1 week ago

What version of FCPX? What version of fcpxml are you exporting? Does it crash *during* export of fcpxml, or after that? If afterward, how long after and upon what user action? Can you post the stack trace of the crashing thread?

As previously described, any bug in any 3rd-party plugin developed with the current FxPlug framework can crash FCPX. Can you update to Color Finale v 2.1?

As a standard troubleshooting measure, turn off background rendering in FCPX preferences. Then delete all generated library: Files>Delete Generated Library Files>Delete Render Filess>All. Then do a one-time render of the timeline by selecting it with CMD+A and rendering it with CTRL+R. Then try your fcpxml export. This separates the render phase from the export or encoding phase.

If that still crashes, create a test library, then create a "transfer event" in your current library. Drag/drop your project using OPT key into the transfer library. This does a copy, not a move. Then drag/drop that transfer event to the new library. Answer YES to copy optimized/proxy media (regardless of whether you have any). Do not consolidate media in that new library. Then open that copied project in that new library, render the timeline and try the export the fcpxml from there.

If that still crashes, in that test library, select the project and do the undocumented command OPT+Clip>Verify and Repair Project. See if that makes any difference. Do not try this on your main timeline - it is undocumented.

If that still crashes, can you make a duplicate snapshot of the timeline then strip all Fx with Edit>Remove Effects, render the timeline and see if that crashes? If not then make another snapshot, select 1/2 the timeline and remove Fx from there, re-render and re-export. If that does not crash, repeat the process with the other 1/2, then 1/4, etc until you narrow down the Fx-laden region causing the problem.

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Joe M. replied to the topic 'Issue with iPhone Footage' in the forum. 1 week ago

Play the original iPhone video in Quicktime Player, then do CMD+I and tell everything in that "Inspector" window. That will help understand the codec characteristics.

Then we need to know the year, model and exact config of your Mac. Just do Apple menu>About This Mac. Type everything on that window except the serial number and post it here.

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Max604 wrote: ...is there a quick way for me to sync up the video B roll and have it automatically cut it up and sync it to the A roll? Is this possible in plural eyes or something? Essentially I want the A roll to remain untouched and the program will automatically cut where the overlay video goes on top...


I don't think PluralEyes will do that because you have already cut both audio and video in the timeline. If you had continuous uncut audio with edited video (like a music video) then you could just manually sync the B roll, which also has unbroken audio.

If you want to preserve your edits and add the B-roll, I think you must use the below procedure. If this seems like a huge amount of work, it is. This illustrates why you should always begin with a multicam if you know there are multiple audio or video sources.

Sometimes you don't know this, e.g, you shoot one camera with external audio, then later find someone had another camera going. Even if you only have one camera and one external audio source, create a multicam from that before editing. That way if you later find more audio or video material, that can be synced within the existing multicam -- even if the multicam has been edited into the timeline with many cuts. In that case the timeline inherits the updated multicam with the additional A/V angle, which you simply enable in the timeline using the angle editor. This does not work with a sync clip only a multicam clip. Because you didn't start with a multicam clip, I think the below procedure is your only option.

Create and sync multicam, inc'l B-roll. Then FOR EACH SINGLE-CAM CLIP IN TIMELINE:

1. Use clip skimmer to get starting timecode of clip in timeline.
2. Click on clip and observe length in yellow numbers below viewer
3. Open multicam (MC) and skim to timecode for clip obtained in step #1. Note: it won't show the clip timecode if that's the monitoring angle, so select a different monitoring angle before skimming the clip.
4. Place marker; playhead jumps there
5. Move skimmer up so timecode from start of MC container clip displays (vs clip timecode).
6. Go back to timeline (click left arrow on timeline history)
7. In Browser, skim in MC clip to timecode obtained from step #5.
8. Mark range with length obtained from step #2. Expand view as needed using CMD + and CMD -. Use skimmer for rough position then JKL and IO keys to mark the range.
9. Select single-cam clip in timeline
10. Do OPT+R for replace edit of timeline clip with marked range of MC clip which contains other angles and good audio. If color and effects were in place on the timeline clip, before doing the replace edit, copy these Fx using CMD+C, then after replace edit past those with Edit>Paste Attributes

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