I commonly have multiple apps open on my computer simultaneously. So join Nick Harauz in this course as he covers organizing media, creating multicam clips for interview and music video-style projects, and working with the specialized multicam options in Final Cut Pro X. A lot of this depends on the bitrate and codec of your footage. When rendering, four versions of ProRes are available and when exporting all five versions of ProRes are available. They think that if that file gets corrupted they might loose everything.
Final Cut converts the camera native format into ProRes 422 Proxy. Simply put, you should be able to shoot in high resolution media, edit with low resolution proxy files that many cameras spit out, and then when you're ready to export you relink to the full resolution master clips and call it a day. To bring the event back in, connect the external hard drive to your home system. Proxy is a great way to go. Sometimes switching to proxy editing can be a little annoying, like when you start seeing a ton of missing media exclamation marks for all your miscellaneous clips.
The downside of ProRes is the file size - it can be about four times the size of the original file format, typically a version of H. Just press cmd-, or open preferences from the Final Cut Pro menu. The quality is not as good, but this can save a lot of space while you are doing the rough cut. I had not waited for the proxy to generate upon initial import before I dragged the optimized clip into timeline. Thankfully, has built-in features that allow users to edit 4K video on even the most anemic of systems. Click for larger image So the problem with Final Cut Pro X is that it has for the moment that I know , 2 ways of handling Proxy files: Option 1 is to create them inside the Library. If you want to monitor the progress of your transcode, you can do so in the Background Tasks window.
The speed of that external drive can have a big impact on your ability to edit. At the end of each day, we could backup the library file - typically less than a gigabyte - while the external media remained untouched. So when it comes to media management, for example, we can keep it simple and edit a project all from within one library. By default, this window shows only. I live in the Basque Country north of Spain. Alternatively just select the clips you want to import. If you have to make additional edits after you've gone through and replaced all the proxies and temporary media, you're now committed to editing with full resolution media, which may be slow going depending on your computer.
And finally, if you use your computer to make money with video, then sometimes the smartest thing to do is invest in a new computer. I have the media stored on my hard drive as Prores 422 I shot this 2 years ago. What I wanted to know was: 1. Although this walkthrough is aimed at MacBook users who may be editing 4K video in Final Cut Pro X, it might be appropriate to use Proxy Media with more powerful machines as well. Video editing benefits from more power, so you might as well get more power if you can.
Be sure you are creating proxies from your R3D files during import by checking the Proxy checkbox. If a file was matched incorrectly, select it in the list and press Delete. Is it just the proxy files themselves or are the keywords somewhere else? Right now, we can not change in Final Cut the Media Folder once the proxies have been created. In order to use this workaround, you have to go into every clip in your project individually, to replace it's guts with the full resolution version of that media. I have to say it has helped me understand the subject quite a bit. Then, he shows you how to configure camera settings and start recording, monitoring along the way. I have managed to create proxy media for all my original files.
Apple's Final Cut Pro X has come a long way from its stunted release in 2011, but there are still a few major missing pieces that make it impossible to use for many professional video producers. It's not as easy as switching proxies on and off, but until Apple officially implements this feature, our workaround might save your next job. Once I slowed my butt down and waited for a proxy to generate all was well. If someone is going to import footage, organize and edit on the same computer, there is no problem. With the proxies inside the Library, it was about 40 Gigs. The hard part is putting all your shots together in post.
The proxy file is created, and a green circle appears next to the proxy item in the Available Media Representations section, indicating that the proxy file for the clip is available. Ever wanted to have a bit more flexibility when it comes to the storage location of your Final Cut Pro X proxies? Final Cut Pro X Library bundle and contents Navigate to the one containing the media you are after and look for a Original Media folder inside it. If you yourself have found something useful or interesting while working with , please share it in the comments below. That will give you the confidence you need to worry about which keywords to apply, rather than whether your work will disappear when you get home. After a grueling edit using low quality or watermarked media, there's nothing more frustrating than having to go into your project and recreate your edit using the final purchased clips. With 4k media - which we use primarily for interviews but also for specific clients who request it - even our amazing iMac 5K Retina computers can't keep up.
People often ask me which Mac they should get for their video editing, and I always recommend the highest-level machine they can fit into their budget. For instance, here the original ProRes 422 file for this Youth Culture clip is 238. Note: The Delete Generated Library Files command is unique among media management commands in Final Cut Pro in that it affects external media as well as managed media in the library. This is a problem that I hope is fixed in future versions. Conclusion I tried to compile all the information I could find regarding working with cards in l in this three-part article. Is there an other option during export I should be on the lookout for? With the second option, the idea is good, we keep the proxies outside the library, somewhere we have already set in Final Cut. Native Native media is the format shot by your camera.