Archive for the ‘FCP7’ Category

Adobe Premiere: H264 Markers: Work in Quicktime but not MP4

Tuesday, February 25th, 2014

(Updated as of 2014-03-20)

  • H264 supports chapter markers (in some form) in principle, but Adobe Premiere is unable to utilise this (at least as of 2012, and I can’t see a way of doing it in February 2014).
    • If the H264 is encoded into a QuickTime [.mov] wrapper/file (as opposed to a [.mp4] one), and that [.mov] file is played in a QuickTime player, then those chapter markers will appear in (the bottom-right corner) of that player.
  • Apparently FCP (both 7 and X ) can also do this.
    • Presumably


Shared Storage Options for Windows & Mac Video Editing Collaboration

Friday, October 18th, 2013

In summary:

There’s no magic option, each workstation needs a local storage volume with block-level data access (as opposed to simply file-level access) and formatted to a file system that is native (doesn’t require translation) to that workstation’s operating system.  Migration and collaboration imply file copying/synchronization, which implies read-access to the “foreign” file-system.  Mac OS can read NTFS, Winows can only read HFS+ via third-party add-on utilities.  Furthermore, for speed and responsiveness appropriate to video editing, the local storage should ideally be RAID or SSD.  In either case, it is possible to split the local storage (e.g. via partitioning) into more than one file-system.  At least, that worked on the mutiple occasions I have taken that approach, and have not been aware of any issues.

In greater detail:

Consider the challenge of setting up a shared data storage volume (e.g. RAID array or SSD) for video editing, such that either Windows or Mac computers can connect to it, and a video project started on (and saved to) on one of those operating systems (OS) can be continued on the other (and vice versa).

My current solution is to split the drive into separate volumes, one for each OS.  For example I have done this on RAIDs of various kinds and on an internal drive for Mac systems bootable to either Mac OS or (via Boot Camp) to Windows.  In the case of RAIDs I was advised against this by my system supplier, but got the impression they were just being defensive, not knowing of any definite issues, and to my knowledge I did not experience any issues.

It is is not practical to have just one volume (necessarily in that case, one file-system format), because:

  • Mac OS on its own is able to read NTFS but cannot write to it.
    • This is a show-stopper.  Some of the major video editing applications (e.g. NLEs), slightly disturbingly, may use (or for some functionality, even depend on) read/write access to source-files and the folders containing them.
      • I initially, naively, imagined that video editing systems etc. would only ever read source media files, not write to them, or to the folders containing them.  However that proved very naive indeed…
        • In Apple/Mac’s (erstwhile) Final Cut Pro 7 I regularly used their (moving) image stabilization effect, SmoothCam.  Its analysis phased was typically slow and heavy – not something one would wish to repeat.  The result was a “sidecar” file of similar forename to the analyzed source file, but a different extension, placed in the same folder as the source file.
        • I’m not certain, but got the feeling that maybe the source file (or folder) meta data, such as permissions or somekind of interpretation-change to media files in the quicktime ([.mov] mmedia format.
      • Certainly, Adobe (on Windows and Mac) could adulterate both files (by appending XMP data – being an Adobe media metadata dialect in XML) and the folders they occurred in (depending on uder-configuration) in terms of sidecar-files.
      • Sony Vegas also generates sidecar-files, e.g. for audio peaks.
  • File system translation add-ons can add Windows read/write access to HFS+ (ordinarily it could not even read it) and add Mac OS write access to NTFS (ordinarily it could only read it), but not sufficiently transparent/seamless for big real-time data access as required for demanding video editing endeavours.
    • File system translation add-ons (to operating systems) exist, such as MacDrive, to allow Windows to read/write Mac OS, or Tuxera NTFS, Paragon NTFS or Parallels for Mac to enable it to read/write NTFS, but these (reportedly, and in part of my experience) only really work well for standard “Office” type applications, not so well for heavy (big andd real-time) data applications such as video editing, where they can impede the data throughput.  Doh!
    • Some people have experienced obscure issues of application functionality, beyond data-movement speed issues.
    • {Also, I am concerned over the (unknown/imagined/potential) risk that the “alien” operating system and/or its translation utility might alter the file system in some way that upsets its appearance to the “home” operating system.}
  • FAT is universal but is a riskier option:
    • FAT is un-journaled, hence risks loss not only of individual files but of whole volume (integrity).
      • In video editing, corruption could be disastrous to a project, not only in terms of possible data-loss or time wasting and project delays on data recovery, but also in terms of “weird” effects during editing, such as poor responsiveness to commands, whose cause the user may not appreciate. or even an increased risk of unacceptable flaws in the final product.
    • FAT32 is essentially obsolete, because its maximum file size is (1 bit under) 4GB.
    • exFAT, a kind of “FAT64” is practical, and indeed a big successful corporate Mac-based production company once supplied me with many GB of footage on an exFAT-formatted external disk.
      • The largest file I have so far stored there is 40GB.  No problems.
  • NAS (Network-Attached Storage) sounds at first an easy option, but in my experience they impede big real-time data throughput (as stated earlier for “file system tyranslation” add-ons). Double-Doh!
    • Such devices only permit file-level access.  Consequently, the client systems can e.g. create or retrieve folders and files, but cannot e.g. format the device or address it in terms of lower-level data structures.
    • A likely explanation for the “impedement” of a NAS (to data responsiveness and throughput) is that such devices store in a local format (typically they run linux) that is invisible to the client, then translate to an appropriate protocol for each operating system accessing it.  They normally incorporate a bunch of such protocols.  As always, translation => overhead.
    • Other options, such as SAN and iSCSI, instead of providing file-level access to the client systems, instead offer the lower level of data block access.  Thus they appear to the client system as would any local storage device, and can be formatted as appropriate to the client system.
  • One suggestion I saw was to use a Seagate GoFlex drive, which can be used (read/write) with both Mac and Windows.  But the supplier’s FAQ (about that drive) indicates that it depends upon a translator utility for the Mac:
    •  If you would like to be able to “shuttle” data back and forth between a Mac and a PC, a special driver needs to be installed onto the Mac that allows it to access a Windows-formatted drive (i.e. NTFS). Time Machine will not work in this case, nor will Memeo Premium software for Mac. However, if you want your GoFlex solution to also work with TimeMachine, the drive will need to be reformatted to HFS+ journaled.

So I guess there is no “magic storage” option, my main work setup will have to remain based on separate volumes for each OS.

When transferring an editing project from one OS to another, the following actions will be necessary:

  • Copy any absent or updated files across.
    • e.g. via a file-synch utility such as Syncovery.
  • Allow time etc. for possible file re-linking, re-indexing, re-preview generation, re-“SmoothCam” (or equivalent).
    • This aspect is down to the editing application etc., as opposed to the operating or file systems themselves.
  • Ensure any effects used in the edit are present on both systems.
    • If so then these should presumably still work…


NLE Adulteration of Source Media: Potential Workflow-Issues

Friday, September 13th, 2013

I highlighted in (10 months ago) that Adobe Premiere etc. can adulterate media files, in terms of metadata and/or sidecar-files (depending on user-configurations of these applications.  I indicated that, regardless of the reasonableness of at least some of these actions, this could potentially cause problems to other applications.

Validating that concern, I note a post (2012-06-12) by Matt Davis on Philip Bloom’s website, stating (my italics):

  • …if sharing assets with FCPX and Adobe Premiere, Adobe ‘touches’ (resets the modification date) of each file without doing anything else to it, but also sprinkles sidecar files into directories of transcodable files for metadata, thus sending any returning FCPX activity into a tailspin, requiring a re-linking session. It’s oddities like these which haunt the implementation of FCPX in a wider system and make system managers wonder if FCPX is actually worth implementing in its current state.

That was over a year ago, and so the issue may or may not exist for the current version of FCPX.

As users, whether or not the actions of one application adhere to standards and another don’t, what we as users ultimately care about is workflow, which in this case translates to “does it connect up with my other tools/processes?”.  So we have to maintain a “situational awareness” of potential interoperability pitfalls.

Incidentally, I recall that FCPX’s predecessor (in history at least, if not development-line) FCP7 could adulterate source directories with its own sidecar files, produced by its SmoothCam effect.  Not knowing anything further for sure, I nevertheless wondered (at that time) what it might be doing “under the hood” of the QuickTime [.mov] wrapper.

GenArts Sapphire Upgrade & Migration

Sunday, July 14th, 2013

I have an existing GenArts Sapphire v.2 installation, as a plugin to Final Cut Pro (FCS7/ FCP7).  I upgraded it to v6 with a view to using the licence instead for plugin to After Effects (AE), since I no longer use FCS, only Adobe Production Premium (CS6).  Before activating for AE, I need to deactivate for FCP.  How to do that?  A Google-search for [final cut pro sapphire deactivate] gave no obvious useful source of information.

Then it found, leading to, as follows:

  • How do I uninstall Sapphire from my current machine?
    • {I was initially concerned by the title, that if I simply uninstalled the application then that might lose me the opportunity to deactivate (and get a deactivation code or whatever GenArts’ process involved…) }
    • To uninstall:
      • On Mac, go to /Applications/GenArtsSapphireFXPLUG folder and double click on “Uninstall Sapphire”.
        • {Actually it was [GenArtsSapphireFxPlug] }
      • If your machine is not connected to the web, then select “Display an uninstall code to register on another computer’s web browser”. Follow the instructions to register the uninstall via another machine.
        • {My machine was connected to the web, and presumably therefore, no opportunity was given for me to select such an option}
    • {Aha! So uninstalling gives you an uninstall-code!  Or decrements my license install-count (presumably held at GenArts), though if it does that, it does it invisibly (which is disconcerting – I’d prefer some explicit confirmation of the resulting install-count)}
      • {I won’t know for sure this worked as intended until I try to apply the serial number on my new After Effects plugin}.

FCPX: The Real Cost, Including Add-Ons

Sunday, July 14th, 2013

I strayed upon the following, informative:

  • 5thwall May 8
    • I’ve been using FCPX, mostly. $299 as most everyone knows. But the real cost is closer to $1300 when you add up all the plugins to get more pro support.
    • My list of “helper” apps:
      • Compressor: $50
      • Motion: $50
      • Pro Versioner $60 (for backing up events and projects)
      • Event Manager X: $5 (a must for dealing with loads of events – hopefully Apple will institute better mgmt in software)
      • Xto7: $50 (hate X? send it to 7!)
      • 7toX: $10 (love X? send it from 7 to X!)
      • Sync-N-Link: $200 (replicates Avid functionality for syncing clips with jam synced audio)
      • SliceX with Mocha: $150 (great tracker and object remover)
      • Lock & Load: $100 (a much better image stabilizer)
      • X2Pro Audio Convert: $150 (export to AAF)
      • Pluraleyes: $200 (sync multiple clips with multiple tracks of non-timecoded audio to separate clips FCPX can’t currently do that unless you make a multiclip).
      • Davinci Resolve Lite: Free
    • Total for FCPX and helper Apps: $1325

Chroma Upsampling (Chroma Interpolation)

Friday, August 31st, 2012

Shooting green-screen onto a 4:2:0 chroma-subsampled format, intending of course to use it for chroma-keying.  Obvious disadvantage is green-ness of green-screen only gets sampled at quarter-resolution.  Not a show-stopper, given my target deliverable is standard definition, but anyhow, towards perfectionism, is there any way to up-sample to 4:4:4 i.e. full definition colour?

It does occur to me that something more sophisticated than chroma blur ought to be possible, broadly along the lines of edge-following methods employed in resizing. What’s out there?

  • Simplest method, that most people seem to use, is chroma-blur.  That’s only the chroma, not the luma.
  • Searching around, Graham Nattress has analysed the problem and seems to have produced a more mathematical approach.  But it’s only available (at time of writing) for Final Cut (which of course is Mac-only at present).

Some tools that “promise” upsampling, but I wonder by what methods:

  • GoPro-CineForm intermediate.  The codec settings include an option to up-sample to 4:4:4
  • Adobe Premiere, but only if a Color Corrector effect employed.
    • But the crucial thing here, regarding the usefulness of this, is whether it uses any better method than chroma blur.

Some questions:

  •  Does Adobe have anything built-in to do something Nattress-like nowadays?
  • DaVinci Resolve?
  • Boris?


Skimming in Adobe Premiere CS5.5 and (?) FCP7

Monday, March 26th, 2012

Skimming  (after a fashion) is not only available in FCPX:

  • Skimming in Adobe Premiere:
    • From &
    • <<This is a feature that experienced editors have been using for years.  Instead of using the “ultimate slow method” of double clicking a clip in the project panel and opening it in the source monitor, just move the mouse over any clip while pressing a shortkey, and set in/out points on the fly.>>
      • Organization & Layout:
        • Suppose you have a few Source sequences, such as one sequence per rush, or maybe per scene.
          • Maybe also combine all rushes into a single (additional) sequence.
        • Create a main “Target” sequence.
        • Open/place a “Source” timeline  along the whole width of the top of the screen.
        • To that timeline, add sequences (tabs) for each of the Rush-Sequence(s)
        • In the centre, have the program monitor along with a scope
        • Below that, open/place a second timeline, this time for the Target sequence.
        • Now you have two separate timelines and can drag etc. individual clips (maybe trimmed) from the Source timeline to the Target timeline.
          • Just remember it’s not the same as using the Source Monitor.
      • To Enable Skimming:
        • Make a keyboard short cut (e.g. [§] ) to the [Move Playhead to Cursor] function
          • In CS5.5, that function is in [Edit > Keyboard Shortcuts > Panels > Timeline Panel > Move Playhead to Cursor]
        • When holding that shortcut, the playhead will follow the mouse.  No need to click mouse and drag the playhead.  Also no audio scrubbing occurs.  A very slick way to search for that certain something.
      • Tips:
        • Lift [;] and Undo [Ctrl-Z].
          • The [;] does a “Lift Edit” between [I] and [O] points.
        • Extract is supposed to be [‘] but on my [MacBook Pro > BootCamp > WIndows 7] it is [\]
        • [Drag] does a copy, not a move.
        • To drag only the video or audio part, do [Alt-Drag]

FCP MultiCam: PreRes not always the best standard?

Friday, December 23rd, 2011

When multicam-ing in FCP 7, one user reports <<I have found it much better to convert the 5D footage to the XDCAM EX codec instead of converting the EX footage to a ProRes 422 as the file sizes are absurd and there is still a gamma shift problem)>>.  It’s the gamma-shift that would bother me.

Additionally the user explains how to convert DSLR footage to XDCAM-EX format:

    • To Convert the DSLR Footage:
      • Copy the exact file structure from the 5D card to the desired place on your hard drive.
        • Example tree should read:  5DCAM/”DCIM”  ”MISC” (both of the previous words in quotes are two separate folders as one will see in the native card structure)/100EOS5D/”MVI_0001.MOV”  ”MVI_0001.THM” (Again…multiple files in this folder)
      • Open MPEG Streamclip (Just google it to find and download the free program) and go to “File”, “Open Files” and select as many of the .MOV files from your hard drive that you need to convert for a multi-clip.
      • Go to “File”, “Export to Quicktime”
      • At the top of the dialog box where it says, “Compression” choose one of the XDCAM EX compression methods that fit with how your footage was shot.
      • Example:  I shot at 1920 x 1080 at 24 frames per second so I will choose, “XDCAM EX 1080p24 (35Mb/s VBR)” since this also matches the settings of the EX footage.
      • Make sure your frame rate in Streamclip on the lower right area is set to 23.98 if you shot at 24fps in your session
      • Click “Make Movie” and select your target destination
    •  The following will explain how to get the footage into FCP
      • After using Log and Transfer for your EX footage, simply select “Import” under the “File” menu and browse to your new media.
      • Double click your EX clip so it opens in the Source window.
      • Go to a point you would like to use as a sync point, stop playback and hit the letter “I” for “In-Point”  Repeat this exact process with your 5D clip.
      • Select both your 5D and EX clip in the Project area where your clips are listed, right click and select, “Make Multi-Clip”.
      • Select for the clips to be synced using In-Points and you now have a multi-clip.
    • Editing in Multi-Cam Mode
      • Drag the new multi-clip into the main timeline.
      • In the main timeline, click the “RT” button to the upper left of the video tracks.  Make sure that “Multi-clip Playback” is checked.
      • In the source window, look for the button with two playback heads and an “X” between them.  It is located at the top of the window directly in the center.  Click this button and choose, “Open”.  This will sync the source and canvas windows.
      • Double click your multi-clip in the main timeline; this should open both camera views in the source window.
      • Click anywhere in the main timeline and hit the space bar.  You should now see both videos in the source window playing and available for you to click on the angle you want.
      • When you’re done you should highlight everything in the main timeline, right click and select, “Collapse Multi-Clip”.  Don’t worry, you can easily turn it back on to continue multi-cam editing; this will just save on RAM.

XDCAM-EX to ProRes: How

Saturday, December 10th, 2011

I have a Sony XDCAM-EX clip at 1280x720p25 to be transcoded to ProRes, so it can be used as source for iMovie (for another user on another machine).

In principle it should be very simple: go on Mac, use Compressor to transcode the XDCAM footage to ProRes.  But as usual, things are pernickety…


  • First tried dragging the XDCAM [.mp4] file into compressor.
    • Not recognised.
    • Likewise the BPAV folder.
  • Next, I transcoded the XDCAM footage to “MXF for NLEs” format, using the Mac version of Sony Clip Browser
    • Not recognised.
  •  Next, opened the XDCAM Transfer app.
    • In this app, open the XDCAM’s BPAV folder.
    • The footage displays OK but how do I export it to a QuickTime [MOV] file?
    • Looks like I can’t.  It only offers to export to an [MP4] file.
    • Instead, I guess I’ll have to open it from FCP.
  • FCP
    • I opened a random existing FCP project.
    • The footage is 720p but the project/sequence settings are arbitrary (unknown to me)
    • FCP: File > Import > Sony XDCAM…
    • It imported to somewhere … but where?
    • FCP Browser: file > RightClick > Reveal in Finder
    • It was at [/Volumes/GRm HFS+/_Media/_Projects/2010-05-30 (Esp) Alison Doggies/020 Source/Sony XDCAM Transfer/SxS_01]
  • File System:
    • In other words, at whatever destination was last used by some app – presumably XDCAM Transfer or possibly FCP
    • The destination path was in fact specified in XDCAM Transfer, under its Menu: [XDCAM Transfer > Preferences > Import]
    • Moved the file instead to [/Volumes/GRm HFS+/_Media/_Projects/2009-11-22 (JRM) Lady of the Silver Wheel]
  • Compressor:
    • Open it in Compressor
      • Drag it to the “job-strip” (my term) in Compresor.
    • Compressor displays data about that clip (e.g. 1280×720, 25 fps)
    • Select jobstrip settings:
      • Select Setting
        • Settings: Apple > Formats > QuickTime > Apple Pro
          • Name: Apple ProRes 422
          • Description: Apple ProRes 422 with audio pass-through. Settings based off the source resolution and frame rate
      • Apply (Drag) Setting to Jobstrip
    • Destination
      • Leave destination unspecified.  Then it will be the same folder as Source.
    • Processing (transcoding) of this footage (1280x720p25) took about 3 minutes (on MacBook Pro 2009).
    • Result was not that much bigger than the original:
      • Originally recorded [.MP4] file: 1.19 GB
      • Rewrapped [.MOV] from XDCAM Transfer: 1.14 GB
      • ProRes [.MOV] from Compressor: 1.97 GB

Training: Den Lennie’s “Music Video” Experience

Thursday, October 27th, 2011

I attended, working on one of the camera units.  Had a great time, learnt lots, at all sorts of levels.  Even how to make good use of the Movie Slate application on my iPhone!  Link:

Migrating Media (and Projects) from FCP to Avid

Saturday, September 24th, 2011

Migrating Media (and Projects) from FCP to Avid:


Sunday, September 4th, 2011

Free open-source pro-class NLE: .  Well-received by many.  Glimmers a little bit like FCPX, but more flexible user interface, including keyboard-compatibility options with AVID and FCP7.  Register to download it (just over 40 MB).  Further links:

XDCAM (incl. EX) Workflows in Various NLEs

Sunday, May 8th, 2011

Mac OS 10.6.6 – Upgrade? (No)

Friday, January 7th, 2011

Some people have reported problems:

  • <<I upgraded to 10.6.6 from 10.6.4. I installed 10.6.5 a few weeks after it was released and cause under exposing in all Final Cut Studio programs so I downgraded back to 10.6.4. I was hoping that 10.6.6 would solve this issue but it has not!  >>
  • << while I edit, I got a “Out of Memory” Error and an “Invalid Operation”. Can’t reopen the sequence on my MacBook but it opens with no problem on a Mac Pro.>>
  • << Did a fresh install of 10.6.6 and no luck. Still the same error. Reverted back to a vault version of the project and worked slowly with it. No errors so far. Seems if I import in a particular PSD file, that out of error message comes back eventually. >>

QuickTime 10 – Warning

Wednesday, December 22nd, 2010

Based on other people’s experiences, I am always wary of new versions of QuickTime.  I haven’t tried this one, and don’t intend to.  Some evidence of potential problems:

  • [,260877,261037#msg-261037]
    • Problem:
      • … when I exported my sequence using the Prores Codec, … it changed the colour of my sequence, adding a reddish hue/ saturation to it.
      • On my search round the web there seems to be quite a few people with this issue, but is there any fix for it ?
    • Likely cause:
      • QT 10 (QT X) is the worse thing Apple has unleashed to the Apple audience. It is NOT ready for release…and why it is on these systems…really only for consumers, but still…not ready.
    • A proposed fix (if QT X has already been installed):
      • Look in your UTILITIES folder for QT 7. Move that into the APPLICATIONS folder. Right-click on QTX and COMPRESS it. Then trash the app. This way you still have it, but it won’t be available as an application, and any QT file will default open with QT7.
        • This “hack” was advised by Apple to Shane Ross.  Pretty credible then…
      • Alternatively, use the Get Info dialog to set all QuickTime movies to open with QuickTime 7 Player
        • (although for some reason if you set a WMV to open in QuickTime Player 7, Flip4Mac keeps changing it back to QT X).

Apple Compressor – Start-Up Hangs – Fixed

Saturday, December 18th, 2010

On MBP, I tried starting-up Compressor but its icon just bounced up & down (on the task-bar) for ages.  Attempts to right-click it revealed a “Not Responding” condition.  So I searched for a solution.  I discovered a check-list Compressor: Troubleshooting basics at  From that check-list, the fix that worked was to delete my account’s Preferences for Compressor, as follows:

  • In the Finder, go to ~/Library/Preferences
    • (where the tilde (~) represents your Home folder).
  • Remove the following files from the Preferences folder:

I discovered the checklist at, which also gave some more tips.

FCP Project Startup – Steps

Saturday, November 20th, 2010

Steps: (may be useful for making a checklist?)

  • (Day-book 2010-08-16 12:30)
    • Did it at office.

FCP “Additional Easy Setups”

Wednesday, September 1st, 2010

I was initially unable to find some required Easy Setups in FCP.  Eventually I did locate them in the menu, it was just that they didn’t appear by default – I had to select the right (from FCP’s point of view) frame rate or something (I forget now).

  • But before I discovered that, I googled lots, coming up with the following conclusions, which I am no longer sure about – whether they still apply or are obsolete.  Maybe informative somehow anyway, so I’ll post it for posterity at least…

In Final Cut Pro menu: [Final Cut Pro > Easy Setup], if select Format [Apple ProRes 422] then Use only offers 720p50 ???.  However, further options do exist, they are just hidden away as “Additional Easy Setups”.   (Huh?  I thought Apple philosophy was to make things easy???).  For example there is the additional setup that I need, namely [Apple ProRes 422 1920×1080 25p 48 kHz.fcpre].  The fix for this is:

  • The Format/Use combinations are stored as [.fcpre] files.
  • The main folder for [.fcpre] files is [Macintosh HD>Library>Application Support>Final Cut Pro System Support>Custom Settings].
    • That’s the only place (to my knowledge) that FCP looks.
  • Additional [.fcpre] files are to be found in [Macintosh HD>Applications>Final Cut Pro Additional Easy Setups>English].
  • Manually copy required files from the latter to the former.


Sony XDCAM Transfer

Monday, August 16th, 2010

What happens when Sony XDCAM Transfer is used, within or without FCP, to import XDCAM footage (BPAV folders etc.)?  The following is my best guess at the moment, based on my experiences and web-searching.

  • Logging is best done via ClipBrowser.  That updates the meta-info of this “master source”, which may then feed downstream to other formats (mxf?  mov?)
  • The main function is to re-wrap to [.mov] files.
  • Each time you start XDCAM Transfer, check the settings in Preferences, in particular for Import Location.
    • The Cache location can instead be an application-specific, project-independent location.
  • To import to FCP:
    • Start XDCAM Transfer, by doing one of the following:
      • From FCP, do one of the following:
        • Menu: File > Import > Sony XDCAM
        • Browser: RtClk > Import > Sony XDCAM
          • Sadly, only ever imports to root of project, not to bin you right-clicked from…
      • From MacOS:
        • Start [XDCAM]
        • Optionally, in Preferences, tick [Open imported files with: Final Cut Pro]
    • Can mark-up selected clip(s) – e.g. OK/NG – affects all (selected) clips straight away (no ‘go’ button…).
    • XDCAM Transfer is not just an application but a package, including File Access Mode (FAM) Driver (for XDCAM disks), FCP Import and Export plugins and FCP Sequence presets.
    • It can import not only raw BPAV folders (etc) but also MXF-Sony (I tried it).
    • There is a Fetch Metadata option, but I have yet to see it have any effect – because as far as I can see all the metadata is displayed anyway.  Possibly only useful for obscure situations e.g. if some data or thumbnails fail to appear or for a “clip or disc that contains modified essence marks”
    • Opinions are divided on whether or not to retain BPAV folders, but the balance is in favour of doing so []

    Final Cut (FCP) – Background Export/Render

    Saturday, August 14th, 2010

    Searching on Final Cut info generally, discovered some things that were added in the version 7 release of FCP and indeed the greater FCS 3, about a year ago.  I am attempting once again to wean myself off relying so much on (my traditional) Sony Vegas.

      • Apple Article: Bradley Buecker: Editing Eat Pray Love
        • The editors (used) ProRes 422 (Proxy) … introduced with Final Cut Pro 7.  As soon as dailies arrived … Assistant Editor Doc Crotzer would transcode the files from ProRes 422 (HQ) to ProRes 422 (Proxy), organize the footage into bins, and prepare the material for editing.
        • Using background exporting, another new Final Cut feature, Crotzer was able to continue editing even as he was compressing the files.
          • What is “background exporting”?
        • (He) cut in Proxy and in a few simple keystrokes (was) reconnected in ProRes 422 (HQ) to output for a screening.
          • How set up / do that?
    • Google: [“background exporting” fcp]
        • Studio Daily blog, July 2009
          • Thursday surprise with Final Cut Pro 7 and new Final Cut Studio By Scott Simmons
            • Post-article forum pulls apart the details and interpretations of the new features in this version.
              • e.g. Per-Project Capture-Scratch (etc) ?
                • Q: have they moved the capture scratch and render drive settings to be saved WITH the project for this release?
                • A: (Doubtful.)   Check out the Preference Manager from Digital Rebellion as it lets you do something similar if not exactly that.
                  • How best integrate this into my workflow?
                    • Search on this topic another time, e.g. [“preference manager” “capture scratch” “per project”]
        • Article “Final Cut Pro 7, Did They Listen?” by Dan Rubottom
          • when you undo, you don’t lose renders
          • Export, render and publish in the background using Compressor.  You can use Apple Qmaster QuickCluster for even quicker rendering
    • YouTube: [final cut 7]