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David Chapman replied to the topic 'FCP7 vs High Sierra' in the forum. 2 years ago

My 2017 5K iMac shipped with Sierra (I forget which version), so it can run Sierra. You'd have to have an installer disk for Sierra (the latest version) to do an erase/install of the OS. I've run into an issue before where an older OS couldn't install because the hardware required a minimum version (a later dot release). So if you have an installer thumb drive already for Sierra, just make sure it's the latest so you don't run into that.
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David Chapman replied to the topic 'FCP7 vs High Sierra' in the forum. 2 years ago

The latest 5K iMac (maxed out) is a great machine, and honestly I preferred it over the iMac Pro too. Especially the base model. I’m not sure what updates Apple has planned for it this year, but the latest 5K iMac also has user replaceable ram.

I’d go for the 5k iMac. But I’d still export masters from FCP7 and the XML. Not because that’s what a professional would do, but because that’s a good backup procedure.
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David Chapman replied to the topic 'FCP7 vs High Sierra' in the forum. 2 years ago

Final Cut Pro 7 was released in 2009. Final Cut Pro X was released in 2011, but arguably was fully featured between 2012 and 2013. The biggest head scratcher for me is why haven't you moved those old projects to FCPX with 7toX or an XML workaround through Resolve? Or why haven't you moved them to Premiere?

I find it crazy that FCP7 has worked all the way up through Sierra.

What are your options now?
- Export Masters in ProRes (which should have been done already anyways)
- Export project XMLs
- Import those XMLs into Premiere or Resolve—it's your choice. For the people that are anti-subscription, Resolve is free. Everyone else that has Creative Cloud, just download Premiere.
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David Chapman replied to the topic 'Export "Notes" as text file?' in the forum. 3 years ago

I'd pay $50 or so, but not $99 or $159 just for this functionality. I purchased Shot Notes X previously, but it only lets you edit items on the parent clip—not keyword ranges on clips.

Someone somewhere has to have something... though in the meantime I can use Brackets to view the FCPXML and copy/paste (not sure that's any faster than copy/pasting from FCPX itself, but the browser still has that disappearing text bug so maybe...)
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David Chapman replied to the topic 'Export "Notes" as text file?' in the forum. 3 years ago

I'm curious about this too. Looking to edit notes on keyword ranges in Numbers.
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I think he means that in the timeline, your clip has an in/out point. Making the in point earlier and the out point later would effectively give you "handles" or more media to extend later if needed. If you never use those "handles" then you are fine. But sometimes you might need a few more frames at the beginning or the end.
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David Chapman replied to the topic 'FCP7 vs High Sierra' in the forum. 3 years ago

Without getting into why you are still using an app from 2009 that was EOL'ed in 2011, how about working with the project in Premiere Pro? Doesn't Premiere import FCP7 projects without an XML export/import?
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David Chapman replied to the topic '4K footage in HD project blurry when enlarged' in the forum. 3 years ago

I'm also editing 4k into a 1080p timeline, but scaling works as expected. Yes, the footage shows 100% and I have to scale above 100, but the image is still crisp.

Some thoughts:
1. Your project could have turned into a 4k timeline based on the first clip you edited. Check the inspector and see if your project is 1080p or 4k.

2. If you synced audio/video with a multicam or compound clip, that clip could be 1080p with 4k clips inside. Whatever the parent clip size is, that's what the project will see. So a 4k clip in a 1080p multicam will be treated as a 1080p clip. Check the inspector and make sure your clips are still 4k.

3. The scale parameter only changes the perceived size, but doesn't throw away pixels. So if you drop in 4k into a 1080p timeline and keep the default settings to fit, you can scale up above 100%.
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David Chapman replied to the topic 'how do you handle and compare revision in fcpx?' in the forum. 3 years ago

I'm pretty sure we are going to see some workflow ideas based around exporting to Resolve 14. Since it can compare 2 timelines and show what's different, I suspect that you can export the XML from both projects in FCPX and import those into Resolve 14 (beta). Then use the comparison view to see what's similar/different between the two projects.

Does it work? I dunno. Someone needs to try.
:)
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Has anyone been inside FCPX 10.3.3 long enough to tell if the disappearing browser fields have been fixed?
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MsJustine. Once you read both links I posted, we can offer more help. Both of those articles by Larry Jordan should fill in some holes in your understanding of this topic. If you don't read them, we probably can't offer anymore help.
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What? Larry Jordan has spelled out everything clearly with photos and details on all aspects here. I and others have tried to explain it in previous posts, but it seemed as though you needed an in-depth explanation of how it worked.

Perhaps FCPX isn't right for you. You keep getting upset at things we all agree work great compared to other NLE's. You may try Premiere or even Resolve? I have stayed with Apple BECAUSE of ProRes and I'm sure others have too. If you don't see the value there after reading those posts, then maybe your priorities are different and another NLE would be better.
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MsJustine, read this and then let us know if you have any questions.

larryjordan.com/articles/media-in-fcp-x/
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I'm @DaveChap on Twitter and DaveChapFilms on Skype if you have more questions.
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You seem to be getting on an unjustified soapbox about this issue. Clearly, there's something that's not getting through to you. I've read your posts again and there seems to be a few things that are tripping you up and you're blaming this Original/Proxy toggle in the viewer.

Don't make Optimized Media or Proxy Media. Edit the original media and learn about the other settings and when to use them for next time.

The timeline will still render as ProRes (either automatically or when you tell it to) because the world has decided that ProRes is the best option. You do have control over what flavor your timeline is (default is ProRes 422), but you won't be able to render your timeline as AVCHD or other garbage.
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There's no "magic sauce" involved here. What I suggest is to buy training and actually learn the application. If you don't have the budget, at least watch all of Ripple Training's videos on YouTube. Between those and the articles on here with Sam Mastman, Thomas Grove Carter and others, there's no reason why one doesn't know FCPX like the back of their hand. Just takes some time invested from you.
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The documentation spells it out pretty well and others have done deep testing to give very detailed specs. The functionally works great.

Sounds like there's no reason to convert to Optimized or Proxy. If it's only 180 seconds long, just get rid of the Optimized and Proxy and work with the original.
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There are not 3 settings. Original/Optimized are one and Proxy is the other. Depending on the footage and the computer, FCPX may never create Optimized versions for playback so you'll always be editing the original. The light that turns on there will let you know that a clip has been Optimized (meaning it's converted to ProRes).

Proxy on the other hand can be generated for almost anything and the light shows if it's been generated or not.

So the viewer is just a toggle between Original/Optimized as a choice and then Proxy as a second choice. If you generate Optimized media, there's no need for a toggle between Optimized and Original since the Optimized is really your new source material.

The reason for the lights is to give you insight on what's been created for each clip. In your case, you have original media and no Optimized or Proxys generated. You can create a Proxy version of that clip and then toggle between the view to see how it works. Though you may not be able to make and Optimized version at all... again this is just for media/computer incompatibilities.
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