FS5: FS5 Workflow and filenames

[mitchino]

I'm in the middle of a shoot, and copying MXF files off SD cards onto the computer for later editing. I am careful to copy the whole 'PRIVATE' folder as I read that I need to do that. The MXF files in the XDROOT>Clip folder are all named as Clip0001.MXF etc. If I want to rename these files as 'Day1Take1' or 'XCU23' or whatever, what's the best way to do this? Can I just change the filenames or does that mess up the Sony folder structure for my NLE? Am I best converting everything to ProRes so I can trim the edits in Quicktime and name them as I like, and get rid of the Sony folder structure? That's my normal workflow on my Canon DSLRs. Or should I keep my Sony structure and use Catalyst to trim and rename the footage?

What do you guys do?

 

[Doug Jensen]

What do you guys do?

I use the XAVC files exactly as the camera named them and I don't waste time transcoding the files to any other formats before editing in Premiere or Resolve. That's what I do but I'm sure everyone has their own unique workflow that works for them. But no matter what you decide to do, don't try re-naming the files within the Private folder or you'll be setting yourself up for disaster.

 

[patrickbaldwin]

Is there a safe way to rename the files? I have renamed in Catayst Browse but it only does one at a time.

 

[Doug Jensen]

Not that I am aware of.
BTW, Custom Clip naming on-board the camera is one of the biggest advantages the FS7 has over the FS5 that a lot people don't appreciate when they are comparing the cameras.

 

[Nate Haustein]

I rewrap to .mov (not transcode) via importing to FCPX. Then I batch rename the resulting .mov clips to a unique file name with a date as appropriate. The XAVC-L files drag and drop into Final Cut and also play back using quick look in the finder.

 

[dbwolfe]

Adobe Prelude will do the trick, you can set up whatever type of renaming scheme you want upon ingest and it will auto-rename (within the XMP) while still keeping your folder structure integrity.

 

[Doug Jensen]

Nate and dbwolfe,

I'm curious what would happen if you ever had your editing HDD fail after you have ingested and renamed the clips from multiple cards for a project. For example, suppose you lost all the clips you're editing with and you needed to go back to your backups of the original memory cards that still had the original file names. How hard would it be to re-ingest and rename those files a second time and get everything to match exactly how you did it the first time so you could re-link to the new copies of the files?

 

[bengiles]

Not that I am aware of.
BTW, Custom Clip naming on-board the camera is one of the biggest advantages the FS7 has over the FS5 that a lot people don't appreciate when they are comparing the cameras.

I didn't realise the FS5 doesn't have this. There's a lot to be said for pre-populating the clip metadata on the FS7 - it takes maybe 5 minutes, but saves a world of pain further down the line - it ensures you'll always have human-readable clip names and never any duplicates, as long as you follow a basic system that gives each clip a UID. Makes archiving a doddle - especially if you're using a standard Sony XAVC wrapper to consolidate all of your clips into.

I use a simple system of <CLIENT><PROJECT><MISC><DATE>001 (eg SONOS_REDEFINING_HOME_AUDIO_IV_260916_001)

That's always enough for me to quickly find them further own the line. I'm in the process of putting together a showreel at the mo, and it's enabled me to quickly find all of the shots I want, without having to load each entire project's rushes into Catalyst Browse.

I know this doesn't answer the OP's question - but may be useful thoughts for others.

Ben.

 

[allenfacemire]

I use the XAVC files exactly as the camera named them and I don't waste time transcoding the files to any other formats before editing in Premiere or Resolve. That's what I do but I'm sure everyone has their own unique workflow that works for them. But no matter what you decide to do, don't try re-naming the files within the Private folder or you'll be setting yourself up for disaster.

I have not grasped the concept of "file naming". It scares the boogers from my nose. I will name folders and drop the complete file into a named folder. That works for me. If you are on a decent shoot then somebody may be taking notes. Use the real time TC and jot done the good take or an important point.
But using names folders is soooo safe!
But that's me. You or somebody else may have a different approach.
But, do not futz with naming convention (IMO) because these directories are specific and set up for a reason. Any deviation can cause issues you will regret!

 

[Doug Jensen]

I have not grasped the concept of "file naming".

That's too bad because you are missing out on one of the best features of the XDCAM family. Not only can you customize how the clips are going to be named on-board the camera, but you can also display the current clip name right in the viewfinder while you're shooting. So if someone is taking notes they just have to write down "Jones_0054" instead of 2:24:54:02. And as anyone who edits or has to manage massive amounts of footage over the course of many years will agree, it is so much easier to find "Jones_0054" in post that some random timecode number that might be repeated in other clips and often it's not even clear if that number is the head of the clip or the end or whatever. Grasping the "concept" of how to program the naming ought to take about 5 minutes, and the actual act of setting up the naming on a shoot ought to take about 30 seconds. Give it a try. Even if you can't appreciate it's advantages your clients might.

 

[dbwolfe]

Doug Jensen, good question, and I understand your concern. I simply use Prelude to make 3 copies of each camera card and the renaming is done to all three destinations, Primary (which I use to edit) and B & C backups. Prelude maintains the XDCAM root folder integrity and modifies XMP info so that all copies are synced. It works quite well for me.

 

[mitchino]

Thanks for all the replies folks! Still a bit unclear though - if I want to chop up my clips into smaller clips, remove excess fat and rename them, then is it easier to just convert them to ProRes? Some of my shots contain minutes of unwanted footage that I want to trim off, and other clips have several takes that I want to split into individual clips. My normal DSLR workflow is: Open clip in Quicktime 7 Pro, set in and out points and save as self contained movie(s) with new name. Just want to know there's nothing wrong with that approach?

 

[jpham]

instead of changing filename - why not change the directory from PRIVATE to PRIVATE_DAY_XX or PRIVATE_SUBJ ?

 

[Doug Jensen]

Thanks for all the replies folks! Still a bit unclear though - if I want to chop up my clips into smaller clips, remove excess fat and rename them, then is it easier to just convert them to ProRes? Some of my shots contain minutes of unwanted footage that I want to trim off, and other clips have several takes that I want to split into individual clips. My normal DSLR workflow is: Open clip in Quicktime 7 Pro, set in and out points and save as self contained movie(s) with new name. Just want to know there's nothing wrong with that approach?

Sometimes I need to do what you are describing but I use Resolve. It is perfect for what you want to do and much easier (in my opinion) than trying to use Quicktime 7. Don't you have to do one clip at a time with QT?

1. Bring all the footage into Resolve
2. Put all the clips on a timeline (or multiple timelines if you want to).
3. Delete all the bad takes; divide clips into multiple smaller clips; trim the heads and/or tails off of clips; etc.
4) Grade the clips if desired -- but it is not necessary
5) Go to the delivery tab and export the clips as SINGLE clips (not as one long sequence)
6) Start the Batch rendering for all the clips in one step while you go do something else.
7) When rendering is done, open your NLE and import the new clips.

On step 5 you have tons of flexibilty for transcoding to various codecs (usually some version of ProRes), clip re-naming, changing the timecode, resizing the files, audio, applying a grade or not, etc. Having all the clips on the same timline in step 2 also makes it easier to compare different takes at the same time, and even do a rough cut if you want. Another advantage is that you have not touched the original camera negatives in the Private folder or done anything destructive.

That's how I do it.

 

[Publimix]

Sometimes I need to do what you are describing but I use Resolve. It is perfect for what you want to do and much easier (in my opinion) than trying to use Quicktime 7. Don't you have to do one clip at a time with QT?

6) Start the Batch rendering for all the clips in one step while you go do something else.
7) When rendering is done, open your NLE and import the new clips.

+1
This is the flow to go, unless you use Resolve as your NLE, then you can skip the 'go do something else'

 

[mitchino]

Thanks Doug, that sounds like a plan!

 

[klfi]

Thanks Doug,
following yout Resolve - Clip workflow
a. how do you manage different frame rats ie. 25p and 50p footage in the same Resolve timeline ?
b. how do you manage different size ie 1080 and 2160 clips in the same timeline if the master projekt work will be done in PPro CC ?
c. As i cannot export Prores on Windows 10, what container should be used for further work in PPro. Same as original MXF 1a od DNX - HD/HQR .........if the intention is to go back to Resolve (roundtrip) after having done the finals cuts in PPro ?

thanks, klfi

 

[takeiteasy13]

I use the XAVC files exactly as the camera named them and I don't waste time transcoding the files to any other formats before editing in Premiere or Resolve. That's what I do but I'm sure everyone has their own unique workflow that works for them. But no matter what you decide to do, don't try re-naming the files within the Private folder or you'll be setting yourself up for disaster.

I'm sorry, I'm new to XAVC (working with Canon dslrs mostly). What is so dangerous in renaming mxf clips? As I've already done this for one project I 'd like to know what to expect. I haven't noticed anything bad yet.
Thank you.

 

[Doug Jensen]

Thanks Doug,
following yout Resolve - Clip workflow
a. how do you manage different frame rats ie. 25p and 50p footage in the same Resolve timeline ?
b. how do you manage different size ie 1080 and 2160 clips in the same timeline if the master projekt work will be done in PPro CC ?
c. As i cannot export Prores on Windows 10, what container should be used for further work in PPro. Same as original MXF 1a od DNX - HD/HQR .........if the intention is to go back to Resolve (roundtrip) after having done the finals cuts in PPro ?
thanks, klfi

a & b. When I have finished doing my grading, I always render the footage as individual clips (NOT as a sequence) so the original frame sizes of the clips and frame rates are retained. I cover this workflow in my Resolve training video. https://vimeo.com/ondemand/resolve

c. I don't know the answer because I don't use a PC and have no interest learning in that workflow. ProRes is as close to a universal codec as you can get for sending clips to clients, submitting stock footage, etc. I think any professional in the business who needs to interact with other professionals needs to be able to do ProRes. But if you can't use ProRes, for whatever reason, then choose the best codec that your system does offer and use it. In fact, if you have the paid version of Resolve (as I do) you can even render the footage back to XAVC-I.

 

[Doug Jensen]

I'm sorry, I'm new to XAVC (working with Canon dslrs mostly). What is so dangerous in renaming mxf clips? As I've already done this for one project I 'd like to know what to expect. I haven't noticed anything bad yet.
Thank you.

The Sony cameras aren't SLRs or consumer cameras and require a more sophisticated workflow. The contents of the Private folder (or XDROOT folder on other cameras) should be treated as your priceless negatives and never touched or modified. If you do, you risk corrupting the contents of the card and no longer being able to view the clips in Sony's Catalyst ultility programs, view metadata, or in some extreme cases, not being able to import the clips into an NLE. Also, renaming the clips complicates the workflow because if you have already made two or three archive copies of the original clips before you start renaming clips (as you better have done), now the names of your archived clips won't match. So are you going to now waste time making another set of archives that have the new clip names? That is a waste of time. If you want to rename the clips and you think you have figured out a way to do it safely, go ahead, but you are playing with fire and at some point you will get burned. I would advise anyone reading this thread to not follow your example.