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Joe M. replied to the topic 'I need a faster rendering' in the forum. 2 hours 38 minutes ago

Victor123Fcpx wrote: ...Now I use an imac pro - i9 - 64gb ram - and it takes the same 1 hour.

on macbook pro used 80% of mac
imac pro uses 5%.

how to make imac pro decrease the time to save using more of its capacity?...

No iMac Pro has an i7 or i9, they only have Xeon CPUs. Export consists of two conceptual phases, render and export (or encode). Render is processing all edit steps and effects to intermediate ProRes cache files, either physical files if discrete timeline rendering or a rolling window of few frames if using integrated export of a non-rendered timeline.

The first step is evaluate whether the render phase is slow and different between MacBook Pro and iMac Pro, or whether the encode phase is different.

To do this disable background rendering in FCPX preferences, then delete all render files by selecting the library in the left sidebar, then do File>Delete Generated Library Files>Delete Render Files>All. After that pre-render the timeline with CMD+A to select all timeline clips, then CTRL+R to render to cache. Do this on both machines and time how long this takes on each. That tells you the performance difference for the render phase.

After that export the file to H264 on both machines, and time that phase. Use this preset: File>Share>Master File>Settings, Format: Computer, Video Codec: H.264 Faster Encode, Resolution: 1920x1080.

Make sure the timeline, effects and media are exactly the same on both machines. Report the timed test results for each phase on each machine, also re-check the CPU/GPU performance graph for each phase on each machine.

In general you can't make a machine use more CPU or GPU -- it's using all it can for the current situation. If the iMac Pro shows 5% CPU during export, that indicates it's bottlenecked on something else, such as waiting on the T2 chip to encode to H264. It could also indicate the iMac Pro timeline is pre-rendered and it's a pure encode case, whereas the MacBook Pro might be using a lot of CPU to render a non-cached timeline. So first step is re-run tests as stated above, making sure the render state and export presets are identical.

Obviously they should also be on the same version of MacOS and FCPX and use similar I/O, not a slow disk on one and a fast disk on the other.


Joe M. replied to the topic 'Reattach audio to clip after edit?' in the forum. 2 days ago

sfxd0401 wrote: Is there a way to reconnect audio that will be in sync once you've disconnected and moved?..

With FCPX the goal is try to avoid detaching audio. If you need to slip the audio for sync or other reasons, this can be done *without* detaching it, as shown in MacBreak Studio #345 "Slipping Audio Without Detaching It": youtu.be/v1nhaFYckyo

However if you need to reattach detached audio, there are two ways:

(1) Create a compound clip. This is probably the easiest.
(2) Match frames and replace with original clip in event browser which has attached audio. However if you originally detached audio to slip it vs video, this will not preserve that. Procedure:

- Select video clip with detached audio in timeline
- SHIFT+F to find the corresponding clip range in the event browser.
- Position playhead at start of timeline clip
- Press Q key to add as connected clip above storyline
- Do CTRL+C on clip in storyline to copy attributes
- Select connected clip, do OPT+CMD+down arrow to overwrite to primary storyline
- Do SHIFT+CMD+V to paste attributes of prior video clip to new clip which has attached audio
- Repeat above from detached audio clip to attached A/V clip which copies audio attributes
- Delete or mark inactive the detached audio clip
- If needed slip the attached audio clip as shown in above MacBreak Studio.


Joe M. replied to the topic 'External Media volume links break' in the forum. 3 days ago

mindbend wrote: I have an external hard drive that I synchronize with another drive to create a MASTER and BACKUP drive. The BACKUP drive goes to my assistant editor at a remote location. All the FCPX libraries use external media (not managed media). All that media is in one big folder...Every time I sync the drive, my assistant editor has to relink the files even though the root folder names are identical. This is a colossal waste of time....Anyone know what is causing this and how to fix it?

Part of the pathname to each media file is the disk volume name. After syncing the master and backup drives, if your assistant renames the backup drove to master, the media files should connect without relinking.

All FCPX media drives should be only HFS+ or APFS, not ExFAT or any other format.


Awwad wrote: when i import a clip , a camera icon appears on the left bottom side of the browser
what is that...

It is likely what FCPX.guru said. See also this video: "Final Cut Pro X Tutorial: Fixing Missing Clips on the Timeline - Import Issue Fix":



davidbergman wrote: ...It's annoying because I have no indication that it happened and when I come back to the computer hours later (exports take a long time!), FCPx just isn't running anymore....
Lastly, last time it happened. I found a log file:..

The log file contains many references in to the Digital Anarchy plugin Beauty Box. As a test can you remove that from the project and try the export? Make a snapshot copy of the project, open that, select all clips with CMD+A, then do Edit>Remove Attributes and remove only that one effect from the timeline.

Then disable background rendering in FCPX preferences>playback. Then delete all render files by selecting the library in the left sidebar, then do File>Delete Generated Library Files>Delete Render Files>All. After that pre-render the timeline with CMD+A, then CTRL+R. Verify that completes with no errors or hang. Then try the export.

If that doesn't work the next step is totally remove Beauty Box from your system, and also update all FxFactory plugins including the FxFactory app. See Larry Jordan article on how to remove plugins: larryjordan.com/articles/how-to-remove-p...rom-final-cut-pro-x/

If that doesn't work the next step is remove all effects from your snapshot copy of the timeline via CMD+A to select, then Edit>Remove Effects, then delete all render files, then try the export.

Due to the current FCPX plugin architecture, a bug in any plugin developed with the FxPlug 3 framework can crash, hang or destablize FCPX. This will eventually be fixed as plugin developers move their code to the new FxPlug 4 framework that allows running plugin code in a sandboxed separate address space: developer.apple.com/documentation/profes..._minor&language=objc

These plugin-induced bugs can involve multi-thread race conditions and therefore can be erratic and unpredictable. They can appear to only happen when you do certain things such as export to a specific hard drive.

Digital Anarchy is a good company and makes quality products but all software can have bugs.


Joe M. replied to the topic 'HEVC 10 bit hardware encoding' in the forum. 7 days ago

aagribeiro wrote: ..I got some 4K 10 bit sample files from a Sony A7S III, did a small FCPX project and did File->Share to a 10 bit HEVC compressor settings destination. A 30 second clip took 10 minutes to export on my Mac Pro (16 core, W5700X). I was expecting this, since I'd read that hardware encoding wasn't supported in FCPX...

aagribeiro, post: 28754649, member: 1178711 wrote: ...My conclusion is that either there's a 10 bit HEVC hardware encoder on the W5700X or Metal is being used to speed up the process in QuickTime but not in FCPX.

You are correct. There are several separate issues (1) Does the HEVC hardware encoder exist (2) Does it work for the specific encoding format? IOW some might work for 8-bit but not 10-bit. OR some might work for 4:2:0 but not 4:2:2.
(3) Does the application software use the hardware encoder?

A good example of this is comparing the 10-bit HEVC export performance of latest version of DaVinci Resolve Studio, ver 16.2.5 vs FCPX 10.4.8 on a 2019 top-spec MacBook Pro 16, also on a 2017 10-core Vega64 iMac Pro. Both machines were on Catalina 10.15.6.

Below are the numbers I got when exporting a 7 second 4k/29.97 10-bit 4:2:2 ProRes 422 file as HEVC. Obviously the hardware acceleration exists and is usable, whether that's T2, QuickSync (on MBP) or AMD's VCE. However the current version of FCPX is not using it for 10-bit export.

*** 8-bit HEVC export ***
2019 8-core MacBook Pro 16, 5500M, FCPX 10.4.8: 7.2 seconds

*** 10-bit HEVC exports ***
2019 8-core MacBook Pro, 5500M, FCPX 10.4.8: 5 min 2 sec
2019 8-core MacBook Pro, 5500M, Resolve 16.2.5: 5.6 seconds

2017 10-core Vega64 iMac Pro, FCPX 10.4.8: 2 min 50 sec
2017 10-core Vega64 iMac Pro, Resolve 16.2.5: 5.3 seconds


Gabriel Augusto is friends with Joe M.

Brian Cassin is friends with Joe M.

Joe M. replied to the topic 'Multicam editing' in the forum. 1 week ago

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.

I didn't mean to imply you sync before importing to FCPX. Rather you sync *after* importing but *before* you add anything to the timeline. The same applies to curating the material. You mark favorites, rejects and keywords *before* putting anything on a timeline. For multicam material you only add curated multicam ranges to the timeline, not the constituent or parent clips. To avoid accidentally adding a parent clip it may be useful to reject those after multicam sync and run the event browser in "hide rejected".

As FCPX.guru said, tagging all clips from a given camera is important. There are various ways to do this. As I described above, this is easy if you offload each camera to a uniquely-named folder, then import with the option of adding keywords from folder names and Finder tags.

As FCPX.guru said, you can also simply create keyword collections named after each camera or camera+operator, etc, click on each one then import. Each batch of clips will be assigned that keyword, making it very easy to identify what clips came from what camera. This is especially important if shooting from several similar cameras. E.g, most of the Panasonic and Sony mirrorless cameras use similar filenames, same internal codec, and the video header contains no identifying data to identify material from, say, a Sony A6300 from an A7R3.

Re camera/recorder time of day, if you have many clips from many cameras shot over several days, it's often helpful to ensure they sort adjacently by time of day. My team has shot 1,000 multicam interviews over the past three years and 50 multicam interviews in one weekend, so if a camera or recorder has the incorrect TOD it can make picking the right clips for multicam sync difficult -- even IF they are tagged with the correct camera name. The importance of this was discussed on MacBreak Studio #223 from 02:00 to 04:00:

For later archival search and retrieval, it's useful if the clip date and time of day are correct at a file level. FCPX gives the option for updating TOD of the disk file vs just TOD within FCPX, however the option to update the disk file may not work correctly due to disk permissions issues.


Joe M. replied to the topic 'Multicam editing' in the forum. 2 weeks ago

RickLFoy wrote: ...I select 3 different files (recorded at the same time) with the syncing using audio.....

To make the FCPX sync work properly, the clips must be labeled with an angle name or camera name or recorder name in the Inspector before doing the sync. This isn't that difficult and the entire batch of clips shot by one camera can be named in a single step. In general create multicam clips, not sync clips -- even if you only have a single camera and external audio source. Overall procedure:

1. Before importing anything, put all clips from each camera in a separate uniquely-named named disk folder. E.g, Wide_DVX200, CloseUp_S1H, etc.

2. When importing make sure the FCPX preference>Import>Keywords from folders and Finder tags are set. This will automatically tag the imported clips with the camera name. This is especially important when using similar cameras where you can't tell the shots apart from the filenames.

3. Set Event Browser to List View to better see the clip data. Pick menu View>Browser>Toggle Filmstrip/List View or press OPT+CMD+2.

4. If you determine that time of day is incorrect for certain clips since the operator did not set the camera or recorder clock, the clips will not sort adjacent to each other chronologically. This can complicate picking all clips from a given take to sync in a multicam. This can be fixed and adjusted for all clips from that camera. Select the batch of problem clips and Modify>Adjust Content Created Date and Time.

5. After clip time of day is correct, in the Event Browser, select all clips from a given audio recorder or camera. If the Inspector is not on, use CMD+4 to show it.

6. In the Inspector, click the "i" button to show information about the clip. This will reveal a "Camera Name" edit box at the bottom.

7. Enter a Camera Name for that group of clips and press return. This batch labels all selected clips with that camera name.

8. Repeat for each camera AND audio recorder. Note all clips from a given device can be labeled in one step, so this is quick.

9. Select all clips in the Event Browser you wish to sync

10. Right-click and select either "New Multicam Clip". Some experienced editors suggest using multicam clips even for single-camera with external audio: www.fcpworks.com/sync-or-multicam-clips/

11. For either multicam or sync clips make sure the checkbox "use audio for synchronization" is checked.

This will create a new multicam or sync clip which is synchronized using audio. You can double-click the multicam clip and open it in the Angle Editor to verify or adjust the sync. SHIFT+Z to fit to screen. If the sync is not correct you can drag the problem clip left/right or use the comma/period keys for single frame adjustment or left and right angle bracket for 10-frame adjustments.

If you later want to add another camera to an existing multicam, click on down arrow next to the angle name at left of the timeline when in the Angle Editor, and select "Add Angle", then drag the new clip from the Event Browser to the new lane on the timeline.

If a clip is synced incorrectly you can selectively re-sync that one clip within the multicam. In the Angle Editor, click down arrow next to the angle name for the master audio you wish to sync to, and select "Set Monitoring Angle". Then select the clip which is synced wrong, and on that lane's name select the down arrow and pick "Sync Selection to Monitoring Angle". Only that one clip will be re-synced.

Likewise if you forget to add a clip to the multicam during the initial sync, it's not necessary to rebuild the multicam. Just drag/drop the additional clip to the proper angle in the Angle Editor, then use the above procedure to sync that one clip within the multicam.

After the multicam is created, do not simply dump that on a timeline. Use FCPX favorites, rejects and keywords on the MC clip to tag it curate the content. Have the Angle Viewer enabled when doing this -- SHIFT+CMD+7. Ideally mark all the individual "parent" clips comprising the multicam as "rejected" and run the browser filter with "hide rejected". This will help prevent accidentally adding a single-cam clip to the timeline which would later require manual frame matching with the multicam clip.

"Sync and adjust camera angles": support.apple.com/guide/final-cut-pro/sy...gles-ver23c76b1a/mac


Joe M. replied to the topic 'media asset management system' in the forum. 2 weeks ago

Tom Wolsky wrote: If you try to relink a file the relink dialog I think still shows the expected filepath.

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.

But in some cases all you may need is a few file pathnames to help determine why they are missing.

This is a good recommendation because at first glance the UI is not obviously showing the expected file pathname. It is easy to miss.


Joe M. replied to the topic 'media asset management system' in the forum. 2 weeks ago

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...

You are proving it can be done. Thanks for posting that.

Even though your media is carefully placed on a certain disk, you could also store with the library a list of all media paths used. Reason: if in the future you get red "missing media" clips the first thing you want to know is where is FCPX looking for the now-missing media. Unfortunately there is no tool within FCPX or Finder which lists the path of each media file, or which displays the symlink pointers. Finder is especially frustrating because "Get Info" only resolves the symlink IF the target file is there, in which case you don't need it. When the target file is missing Finder only shows the path of the symlink itself which is useless.

In that situation you can use terminal, navigate inside the library to the original media folder and do ls -l to make it list the full pathnames the symlink is pointing to, or you can just use Final Cut Library Manager, which has an optional feature to export all this to CSV. The future person might not have this knowledge so including the CSV in the same folder as the library might be a good idea: www.arcticwhiteness.com/finalcutlibrarymanager/


Joe M. replied to the topic 'media asset management system' in the forum. 2 weeks ago

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.

Yes that can work. A few possible issues: Each major FCPX upgrade requires library upgrade. In general this is reliable but if you had a 4-yr-old archival library then opened it with the latest FCPX that would be a big upgrade. That problem is not unique to FCPX -- any database content system will periodically require database upgrades.

There is a soft upper limit on the current FCPX library database. I have used libraries with 8,500 clips and 200+ camera hours of material and it worked OK but the headroom is not infinite. Each event is implemented as a separate SQLite database so splitting library across events may help, but there is no need to over-do it. A single event can manage a huge amount of content.

There is another soft limit based on # of projects or snapshots. Each project also is implemented as a separate SQLite database, and each open db entails system and memory overhead. FCPX uses a "deferred opening" algorithm to try and avoid opening an excessive number of projects or events but sometimes with over 30-50 projects it will slow down.

In general these limits are very high (except the # of projects) and even a huge feature film (inc'l all footage from all cameras) can be managed in a single library, given appropriate hardware. But there's a difference between that and a long-term archival library which might contain clips from multiple films or documentaries. The main constraint is each library is absolutely independent and FCPX cannot query across libraries.

Proxies if stored externally can be somewhat fragile. The original proxy design was in-library only and that is more reliable but it bloats library size. For longer-term archival storage I recommend also grabbing the FCPX auto-backups for a given library which are stored in /Movies/Final Cut Backups. These are very small and contain no proxies, cache or even symlinks. If after years you try to open or upgrade a regular library, having these around might be useful. I would also suggest exporting library and project XMLs as part of the archive package.

Re cross-library copying of projects and clips, there are some FCPX media management issues to be aware of. In general you want to only copy that material inside a "transfer event". Sam Mestman discusses this from 06:30 to 11:00 in the below video. He demonstrates this on a Lumaforge NAS but it's not unique to a NAS. "Final Cut Pro X Virtual User Group #7":

There is also an FCPX media management issue if duplicate filenames are imported, even if those were within separate disk folders. FCPX places the media or symlinks within a simplified library folder structure, which creates filename conflicts. It solves this by adding a "uniqueifier" of (fcp1), (fcp2), etc. However this doesn't work correctly in all cases and if exporting/importing XMLs can create spurious duplicate clips. To avoid this (as well as good data hygiene) it's best if all media files are globally unique across all libraries and all time. To achieve this, before import you could add an incrementing 6-digital serial number, then save the high value and use the next value for the next import. Files can easily be batch renamed to add that serial number using either Finder or a 3rd party tool like A Better Finder Rename.

Finder batch renaming (MacMost): youtu.be/rRIZAjylKDw
A Better Finder Rename: www.publicspace.net/ABetterFinderRename/index.html


Joe M. replied to the topic 'Macbook Pro GPU upgrade worth it for performance boost' in the forum. 2 weeks ago

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 ?..

Render and export are two different things. Rendering is translating edit directives and effects to render cache. For an unrendered timeline being exported, rendering is doing that translation on a few frames before handing it to the encode phase.

In general a faster GPU will not help encoding. It might help rendering -- IF the effect is highly GPU-bound. As a generalization effects use the GPU but the split between CPU and GPU varies. In the case of Neat Video the user can actually adjust the CPU/GPU split.

You can help characterize this by turning off background rendering, delete render files, select all timeline clips with CMD+A, then time with a stopwatch the render phase when you do CTRL+R. After the timeline is fully rendered, export to your preferred format and time that. This will give you a very rough idea of render vs encode time.

After rendering the timeline, try this export preset: File>Share>Master File>Settings, Format: Computer, Video Codec: H.264 Faster Encode, Resolution: 1920x1080.

The 5600M is a nice upgrade and a useful option but I'm not sure it will totally transform a performance issue. The Apple Silicon Macs will be out soon and might have significantly better performance. Supposedly a 12-core 13" MacBook Pro will be released this year, which might give the first hint. I don't think the 16" MPB or iMac will be released until next year.


Joe M. replied to the topic 'Color Finale 2 Pro Crashing FCPX -Any tips?' in the forum. 2 weeks ago

substance3 wrote: ...I've not heard back yet from support but hopefully this is something that can be fixed.

It is the responsibility of the plugin developer to promptly debug and fix problems like this. Apple has provided lots of info and tools about how to do this: developer.apple.com/videos/play/wwdc2018/414/

Ultimately when plugin developers move their code to the FxPlug 4 framework, it will optionally enable running that in a separate "sandboxed" address space, and should not crash the host app (FCPX in this case). However the plugin code will still crash which will be disruptive. IOW the plugin functionality will probably freeze or malfunction but FCPX will stay up and you can do an orderly re-launch without risking data loss.

So FxPlug 4 will help contain the problem but there's no substitute for developers debugging and supporting their code. Ideally customers could provide a small, reproducible scenario, but if not possible there are plenty of ways for a developer to debug and fix things like this.

When plugin developers do not expeditiously investigate and fix their problems it taints the entire plugin ecosystem with a reputation for poor reliability and poor support. This makes customers less likely to purchase plugins -- from any vendor.


Joe M. replied to the topic 'media asset management system' in the forum. 2 weeks ago

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?

FCPX metadata is stored within various SQL tables within several SQLite databases within a FCPX library. That info is undocumented and in a format that can be humanly understood. Normally with a SQL database a human devises the schema - table names, column names, datatypes, etc, and also writes the queries. However internally FCPX uses Apple's "Core Data" framework, where the programmer-facing data view is an object graph, and Core Data itself creates and uses the underlying SQL data store. So while the tables can be queried with a 3rd party tool, the info is not understandable.

This leaves the only method of getting metadata info as XML. The application-specific details are also not documented but it's possible to figure some things out, so some 3rd parties have written tools for that, such as MergeX which is now owned by PostLab: www.merge.software

With any long-duration MAM approach (whether primitive and manual or a sophisticated 3rd-party database), durability and support are major issues. E.g, say you spend thousands of hours tagging photos using LightRoom. In 8 years will that database be available, readable and intact? Does the app developer allow exporting the data (with all features) in a standards-based format such as CSV or something else in case their database crashes or goes non-supported?

CatDV has been around a long time, now has an FCPX workflow extension, is widely used in the industry and has the features you want: www.squarebox.com/fcpx/

However it is likely expensive. Also (even given the funding) you can't just pick a product and commit. What if under high stress or heavy load it became unreliable or damaged data? What if that only happened using a certain client OS or only on a NAS if using a certain network protocol? Who would support and debug that? These issues apply to any 3rd-party MAM.

Even using the relatively simple Mac Spotlight Indexing, all features of this do not always work consistently on all NAS platforms. IOW you could spend lots of time using Finder tags on a local drive, move it to the NAS, then find an indexed search of those tags doesn't consistently.

For these reasons some people fall back and use the simple approach of embedding metadata in filenames. It is painfully primitive but at least filenames are durable. E.g, camera file C00001.mp4 becomes 2018_ATL_Wedding_Smith_Reception.mp4. Whether a database or rudimentary filenames you must decide on a consistent naming convention convention ahead of time then stick to that -- it can't be "stream of consciousness.

However the above filename approach can conflict with FCPX reliance on filenames at ingest time, esp if initial curation is done within FCPX. That raises yet another issue: traditionally initial curation took place outside the NLE because (a) NLE tools for tagging data were poor or (b) The assistant editor didn't want "all that junk in my library".

With FCPX it's often faster to just ingest everything using "leave files in place" and curate with the skimmer, ratings and keywords. No external tool is that fast, not even Kyno: lesspain.software/kyno/

But once ingested FCPX is reliant on the filename and if later changed this breaks the link (if not on the original drive where "inode lookup" is possible). This in turn argues for deciding for all time on a filename convention *before* ingest. There is no good answer for this issue.

That said, I recommend you investigate closely Kyno. It is non-subscription, cross-platform and may fit your needs: