does anyone have experience with a good text tracking software/plugin for FCPX - mostly used for real estate videos, aerial fly overs, that would keep the text tracked to a certain building? Budget is up to $100.
Hello all, I have just recently moved to FCPX after FCP 7 and working in Premiere occasionally. When I need to do quick simple edits, I find FCP X amazing.
But when I need to tackle on more difficult projects that require exact positioning, altering sounds, creating sound effects from other takes, cutting and shortening audio from takes and covering that with video cutaways, I find that FCP X can be confusing to newcomers.
Often I find that if I detach the audio or put a new video clip above the timeline and shorten something out, or delete a bladed clip that I have marked on the timeline, many other things would disappear with it too, or everything else would be deleted with me pressing the delete key on a short clip - yet they don't seem to be linked or connected in any way. Or that I trim a certain clip by a couple of frames and all of a sudden many audio files after that clip are out of synch, yet many other are still left in the same position intact. I still don't quite understand how to make each clip and audio to work as a separate agent in FCP X - does this have to do with the 'magnetic' timeline?
I have attached a screenshot of my timeline. I would love to find a tutorial video that explains how to work in the timeline efficiently and perhaps explaining the roles of sequences, storyline, clips and how to make them stick to one place just like FCP 7 used to do.
Thank you for the recommendations.
Couple of questions:
1) If I would go to purchase the LaCie - and let's say i currently sit somewhere around 2.5TB of video footage that I need to keep / and back up - would you use that LaCie for storage purposes AS WELL as for editing? Or would you solely use it for editing and once the project is finished - store it and back up on two or three additional desktop HDDs
2) Is it bad to feel that I would rather buy tow or three desktop/portable HDDs instead of one LaCie for the same price? If I am trying to be cheap - please tell me - but I thought I that would be more of a practical solution?
also in long run/long term - would a RAID array with 4 drives be more beneficial? if so could someone please explain to me how that works and why is it really worth it - as I do not understand it 100%.
I apologise if there is an answer already - I haven't found one.
I am editing in FCP X and am currently using a Desktop WD 4TB HDD for editing. Majority of my footage is in 4K but the HDD rarely has problems playing the 4K playback. Rarely I need to optimise footage. I do have another same desktop HDD for back-up purposes only (not used for editing)
I want to purchase another one (third one) to triple my safety net of back-ups (recently some other older HDD's died) and I was wondering if I should go for Desktop or Portable.
Is there any difference between the two in terms of editing a heavy 4K workload? Portable would be preferable so I could take it to other meetings/locations and edit on the go, but I would not want to purchase if there is a disadvantage in writing/reading speed, slower RPM or anything else that might make it disadvantageous over the desktop one.
Again, thanks for a great reply.
Firstly before I devour into little bit more details about the priduction itself - so to finalise it, you reckon that currently for now the method of storing all of this on three separate external HDD's is OK at the moment and if anything changes technology-storage-wise in teh next 2-4 years we might adapt with the flow.
Once let's say in 4 years the project is finished and I know i will now be editing it, I can proceed with looking at optimising the editing workflow with some other RAID possible set up?
It is tricky with this particular project. I know that it might come across as me making excuses, but the reality is that sometimes we might get called prom the project manager the night before and been told that a crane is coming at 6am putting statues etc on the roof. It's a sort of 'one take wonder' because the crane company arrives from different city already with the picked statues and arrives at the location and puts them up and leaves. They are (everyone on site) is on very very strict schedule.
Between me waiting appx 1 kilometre away (the house is on private island with many resorts) with my Phantom drone to capture a 'one off' take of the crane crossing the bridge while the sun rises and me packing down and arriving to the location, and my partner shooting the arrival etc... we also have to adhere to safety precautions on the site and sort of - can't - just put a GoPro inside the crane. There is a possibility of putting it on the end but what i am trying to say - it's sort of like we are invisible - or not important in the scope of the building of the property - nobody wants to be 'wasting our time' with us, worrying if we are going to climb the scaffolding all the way up to grab some footage, supervise us etc. I will try my best for the future to try and spice the production up with your recommendations, but at the same time I am trying to be resourceful and do the best with what I am given if that makes sense.
Thank you so much for such a detailed response.
1) With all your specification description - I agree and my workflow so far has been just like that - keep original media in place and only transcode 4K if I really need to - in terms of playback performance - but so far I only had to do it for one project, apart from that even if it ocasionally slows down, as long as I know that's the shot and selection I want to use I'll leave it. For this large project I will go proxy for 4K.
2) In regards to your dual 32 TB OWC Thunderbay 4 units in RAID-0 - is this something that I should be looking into now, or in the future when I attempt to tackle this project?
3) In regards to editing now: someone also told me: "Don't think about this yet. Who knows what changes might occur in editing software in the next 3-5 years. Google or Apple might have exceptional cloud based AI software which could do 90% of the work for you in a fraction of the time. FCPX might change significantly, or you might be using a different editing program and starting from scratch."
I agree with this statement as well as I am still learning to be more and more proficient in FCPX. I do review the 'dailies' upon arriving home - but with the nature of this project being so unpredictable and spontaneous - we don't know what the next 2-5 years hold for us - for example - there might be a 'grand gala opening ceremony' when the house is finished and that would give me an idea on how to tackle and edit this project - maybe for the sake of this example I would start with that - as a short introduction of what is going to come as an end product, with dramatic music, but WAIT... the journey to get here wasn not that easy - flashback / flashforward to some arguments, drama, destruction, etc... and then start from the beginning with a voiceover.
Maybe the gala opening is not going to happen - then I would approach it a little differently - so I don't want to waste my time on editing bits and pieces here and there when I don't know where they are going yet - that's just my creative process I guess, but if it needs to be done I will do it.
Also - the nature of this project is very .... laid back. We arrive and sort of 'document' what is going on, but because of the scale of things that happen, we can't demand or attempt to interview the workers or the construction manager on the day for example - nor they have time for us on other days. With much notice we can attempt to orchestrate interviews with questions that would be prepared so they know what they will be answering and we can go on and start from the very beginning and I can be trying to recollect all the dramas that happened - e.g. - crane arrived 3 hours late, statue fell, water dripping, wind damage etc.... - and on top they might share light on stuff that happened when we were not there as well, but these things I reckon come later, if not last, because they will be the finding foundation of the dramatic storytelling onto which we will be trying to insert the 'b roll' footage that we are currently documenting.
I know this might sound strange but that's the nature of this project. Everybody else is there paid for their job and they don't want or are really uncomfortable going in front of camera for 'the owner' to then see later on. I hope this makes sense.
Last but not least : Would it be beneficial to have something like this and every time I do some backing up it would automatically back up to the other ones connected?
This also might relate to my other work hard drives – for example – when I want to edit a wedding video and at the end of the day or the project, I want to 'update' the other two HDDs with what I have done, wouldn't this be easier than copying one by one?
I am seeking for an advice on the optimal storage/editing workflow for a Huge project. I will try my best to explain the situation in detail as well as keep it short.
Me and my partner are freelancing filmmakers. We are doing a couple of projects here and there (every second month) that ranges from music videos, wedding videos, small corporate videos, small web commercials for catering companies etc…
I am currently editing on MacBook Pro 15’ 2016.
My cameras for the shoots are Panasonic Lumix GH4 / GH5 / Sony A7S / DJI Phantom 3 Pro.
I am editing via 4TB External Desktop HDD’s - USB 3.0 (Western Digital / Seagate)
I have only recently changed to FCPX - previously I was still editing the old school way on FCP7 - thanks film school - and I now find the workflow in FCPX so much easier, quicker and optimised for a quick turnaround that I often need. No more transcoding to Apple Pro res LT, FCP 7 workflow > Export / Compress / Transcode etc… I really like FCPX and I think I am going to stick with it. So far I have not encountered any problems in terms of performance on my MacBook while editing 4K natively, only once for one music video I was using MultiCam and I had to create Proxy for those couple of takes, otherwise I had a smooth editing experience editing with Original Media.
// THE PROBLEM //
We have a big project that I categorise as ‘separate’ from all our other film work, just for the reason of being so big. We are documenting a huge house being built from scratch - a project that we started filming 4 years ago - for the clients to have a short film / documentary 30-60 minutes of all the process and problems the building has encountered on its way (crane arrived late/ statues on the roof / golden fence being imported from Europe / welding of materials for window edges etc). The frequency of visits and our shoots are in average 1 visit/shoot every 3 months. Occasionally we might come twice or three times in one week if a lot of things/changes are being done tho the house, other times we haven’t been called for over 7 months.
I estimate that this project is going to continue for another 3-5 years until the house is finished. So far we treat all the footage shot as cataloging the progress as it still looks like a construction site so can’t even start editing the final product yet.
For this project I have decided to keep this on a separate storage HDD’s. So far it sits on 2x Desktop 4TB/Western Digital HDD’s and 1x 4TB Western Digital small HDD’s - in three separate locations. I CAN NOT AFFORD to loose any data for this project.
So far we have shot around 1.5TB of footage. I estimate that with the house being finished it will go beyond the 4TB current capacity.
// MY QUESTION //
// Sorry I am not very knowledgeable in the whole RAID set up systems. I have tried to read about it and watch youtube explanation videos but still not quite 100% get the benefits of the set ups.
Q1) How do I go about storing this project for another 5 years in the most effective / efficient way?
Q2) Once the house is finished - how do I go about editing this? Should I edit from the external HDD and have another external HDD - possibly a Thunderbolt as a ‘Final Cut Pro X library’ just solely for this project? How do I back up after each editing session I do to the other two HDD’s?
I have done some researching about the HDD hub that will clone and copy to the other two HDD’s in real time, should this be something I invest in now, or do this later? (in 5 years the technology might jump ahead again and the prices for a SSD’s might be way cheaper or other solutions might open up?
Q3) Is online storage such as Google Drive a possibility with editing such a huge project in FCPX?
The reason I am posting this now is to try and figure out if I can do any step at the moment to help my workflow in the future and for long-term. Or should I just store store store the footage for now and decide in the future?
Thank you for taking the time to read this and if you have any questions to make this more clear please don’t hesitate to ask.
iMac (21.5-inch, Mid 2011)
2.5 GHz Intel Core i5
16 GB 1333 MHz DDR3
AMD Radeon HD 6750M 512 MB
But if this project goes through I will upgrade to the 5K iMac...
I would need to punch in / reframe / stabilise occasionally from time to time, but if I decide prior to the project i dont have to...
I will do a test and let you know using both Mpeg Streamclip and Compressor (transcoding and downscaling 4K h 264 to Pro Res 422 1080) and will post if there was any difference.
"You won't need a workflow since the application will do it all for you."
Do you mean FCP X will allow me to edit natively in H 264?
I can't. FCP 7 won't let me import the files in...
Watched the online/offline workflow again, and since option 1 (log and transfer) is not working for my GH4 the only option is option 2.
The problem is that it still leaves me hassled how to go about the workflow. Please consider this -
ORIGINAL Footage - is in h.264 4K
CONVERTED Footage would have to be Pro Res 422 4K (I heard that dropping 4K into a 1080 sequence is better than downscaling your videos while transcoding?)
for the offline workflow I would then have to create THIRD footage - Pro Res Proxy Offline
This means that ultimately I would be chewing up even more space and time trying to work that way.
Maybe it's just best to convert once to Pro Res 422 and then drop it to 1080 sequence and deal with the rendering when needed?
Thanks for this video.
I have two questions:
1) My camera is Lumix-GH4 so how would you recommend me going about log and transfer because right now FCP7 is not allowing me to log and transfer the native footage from GH4 - is there a plug in like for the Canon 5D?
2) My workflow now on smaller scale projects is: take the original GH4 footage - transcode it to ProRes 422 LT, Import to FCP, create a 1080p Sequence, drop and edit - export and for some Transode to .mp4 ... Many editing experts told me that there is no visible difference between ProRes 422 LT and 422 and HQ if I am not doing any VFX/graphics/green screen, just pure documentary form videos. Would you agree?
no, could you please elaborate? Convert to Proxy instead of 422? and then bringing it back?
Compressor or MPEG Streamclip.....
I have FCP7 7.0.3
As I said, I have a pro res 4K video and can drag it to new empty sequence and edit away and export no problem...?
I have been told this information before, so how is it possible that I have a 4K pro res video, I import it to FCP7, drop it to a new sequence, say 'YES' - the sequence is now in 4K resolution, I do some edits and export and the exported file is a 4K file?
Thanks for the reply... rendering only is an issue when I drag the 4K files into the 1080 timeline and after 3 minutes of raw edit footage i would like to see the result i need to render which takes a whie and then upon that every single little change i need to render again...
Hi everyone, I have a question regarding editing my 4K footage on my FCP7.
What I do now is I transcode the 4K footage (H264) to 4K (ProRes) and edit away on a 1080 sequence - if the delivery asks for 1080.
The problem is that once I render the sequence and decide to change some small things around or add/trim clips, I have to render again for every step that I change and overall it can be very time consuming.
Is there a way to for example transcode the 4K original footage to a 720p small files JUST FOR THE EDIT and then once the sequence is a lock, conform the clips in the sequence back to their original size (4K) and export the sequence in 1080 and 4k in Pro Res?
Any other tips how to make this post production easier are appreciated!
Thank you so much.