Post up how your workflow is inside FCP.
- Thread starter semajha
- Start date
editfoster
New member
Not sure if my workflow is 100% correct but so far it has worked for quite a few shoots, in to out.
1.First thing is I always backup everything to an external drive. Then back that drive up as well.
2. Depending on Frame Rate and Format - I put everything into Compressor to make ProRes 4:2:2 independent clips. We leave everything in CARD structure so the files are written back to the CARD number. This helps if we get script notes that refer to i.e. CARD 2. Tk2-Keeper etc. We can easily locate the files by CARD number and then take. (a little redundant sorry).
3. We then copy the folders and clear out the 5D/7D/T2i QT movies leaving only ProRes in the folder structre. (again purely for our organiztion style)
4. Add folder to FCP project. Obviously make sure your project is setup to the correct Easy Setup. We do a lot at 1920x1080 23.98psf Apple ProRes 4:2:2. (We never really touch ProRes HQ)
5. Edit. Output. Get Paid, or at least have a drink
1.First thing is I always backup everything to an external drive. Then back that drive up as well.
2. Depending on Frame Rate and Format - I put everything into Compressor to make ProRes 4:2:2 independent clips. We leave everything in CARD structure so the files are written back to the CARD number. This helps if we get script notes that refer to i.e. CARD 2. Tk2-Keeper etc. We can easily locate the files by CARD number and then take. (a little redundant sorry).
3. We then copy the folders and clear out the 5D/7D/T2i QT movies leaving only ProRes in the folder structre. (again purely for our organiztion style)
4. Add folder to FCP project. Obviously make sure your project is setup to the correct Easy Setup. We do a lot at 1920x1080 23.98psf Apple ProRes 4:2:2. (We never really touch ProRes HQ)
5. Edit. Output. Get Paid, or at least have a drink
handsome pete
Well-known member
There's really no such thing as a 100% correct workflow. It is dependent on the user.
I'd say yours is pretty common though as far as t2i/7D/5D footage goes.
editfoster
New member
True about the 100%...It's the penny in the fountain thing. I put it out there hoping someone says ACTUALLY this is 100% correct. Not gonna happen, but it does sound like our workflow is pretty common which is encouraging.
As far as blown out colors. Do you grade and render it in Color? Are you seeing the blown out colors in the raw footage, in the FCP timeline / bins, or just your export? If you are only seeing them in your export, what settings are you exporting with?
I'm really glad I found this forum, everyone is so friendly and so professional as far as threads go. Cheers
Mine might be a little different as I use some different software for logging footage from the card.
1/ Log footage on laptop on the go using the executive producer bronze from imagine products. This auto logs my files to the local drive on my laptop and an external drive - so Im already backed up, which I then clear after 2/. This is for dropping files in the field.
2/ Plug external drive in mac pro drop a copy to my raid 5 edit drive and a copy to my raid 1 back up drive.
3/ Open files and convert to prores - As my system can run prores 4444, Ive pretty much decided regardless of any actual visible difference any commercial work goes this way. Or prores 4:2:2 HQ (These files will be auto backed up every few days).
4/ FCP and edit.
5/ VFX / grading
6/ Export - workflow for full 1080 exports is fine. Im messing with my web exports at the moment as Im finding they are coming out a little flat. For DVCProHD Ive found the youtube export works really nicely for just about anything, but is killing 5d stuff.
1/ Log footage on laptop on the go using the executive producer bronze from imagine products. This auto logs my files to the local drive on my laptop and an external drive - so Im already backed up, which I then clear after 2/. This is for dropping files in the field.
2/ Plug external drive in mac pro drop a copy to my raid 5 edit drive and a copy to my raid 1 back up drive.
3/ Open files and convert to prores - As my system can run prores 4444, Ive pretty much decided regardless of any actual visible difference any commercial work goes this way. Or prores 4:2:2 HQ (These files will be auto backed up every few days).
4/ FCP and edit.
5/ VFX / grading
6/ Export - workflow for full 1080 exports is fine. Im messing with my web exports at the moment as Im finding they are coming out a little flat. For DVCProHD Ive found the youtube export works really nicely for just about anything, but is killing 5d stuff.
J Davis
Veteran
I'm the same as Noel and use prores 4444 but before that conversion I run all takes thru as prores LT
and do rough edits to get my selects.
Often I export these prores LT rough edits for iPod/iPhone so I can rewatch on my commute to work.
Once I've decided on my selets, then only those selected files go to 4444, the rest stay as native files in their original folders for reference later.
In some cases if I have color critical corrections I will revert to the native file and take it directly to AE or color then export to 4444 and drop back into my timeline.
edit:
it is worth mentioning that I have noticed prores 4444 clips super whites and sub blacks when in Color and prores HQ does not. So far this has not affected my cc and I still prefer
to go without the 422 chromatic sub sampling of prores HQ
and do rough edits to get my selects.
Often I export these prores LT rough edits for iPod/iPhone so I can rewatch on my commute to work.
Once I've decided on my selets, then only those selected files go to 4444, the rest stay as native files in their original folders for reference later.
In some cases if I have color critical corrections I will revert to the native file and take it directly to AE or color then export to 4444 and drop back into my timeline.
edit:
it is worth mentioning that I have noticed prores 4444 clips super whites and sub blacks when in Color and prores HQ does not. So far this has not affected my cc and I still prefer
to go without the 422 chromatic sub sampling of prores HQ
Last edited:
Scott F
Pug Life
A good Compressor tip I got from user BenB is to make a droplet on your desktop for your transcoding.
I'm currently using Apple ProRes 422. iPhoto imports my shots by default. I literally drag & drop the ones I need onto the droplet and let it do the work. I just create a destination folder on an external drive. When the Droplet is done, I create a clip bin in FCP & import the ProRes files into my project.
I'm currently using Apple ProRes 422. iPhoto imports my shots by default. I literally drag & drop the ones I need onto the droplet and let it do the work. I just create a destination folder on an external drive. When the Droplet is done, I create a clip bin in FCP & import the ProRes files into my project.
editfoster
New member
handsome pete
Well-known member
Magic Bullet Grinder
Magic Bullet Grinder
I just got a T2i and followed all the hacks to get the Canon plugin to work. Then I went through Compressor. So far, so good but I like everything in the Magic Bullet line so I gave their Grinder a trial.
One transfer and I bought it.
I'm on an iMac with the i7 processor so Grinder split the transcoding between every core in the processor, all running full tilt. Much faster than any other way to get your clips into ProRes and you can choose the flavor of ProRes you want. Plus you can create proxies for offline edit if needed. Works for all Canon DSLR cams.
The setup was super simple and the resulting video drops into an FCP timeline like butter.
The rest of my workflow is standard FCP to Color, Compressor for output to DVD or H.264 for web.
-a-
Magic Bullet Grinder
I just got a T2i and followed all the hacks to get the Canon plugin to work. Then I went through Compressor. So far, so good but I like everything in the Magic Bullet line so I gave their Grinder a trial.
One transfer and I bought it.
I'm on an iMac with the i7 processor so Grinder split the transcoding between every core in the processor, all running full tilt. Much faster than any other way to get your clips into ProRes and you can choose the flavor of ProRes you want. Plus you can create proxies for offline edit if needed. Works for all Canon DSLR cams.
The setup was super simple and the resulting video drops into an FCP timeline like butter.
The rest of my workflow is standard FCP to Color, Compressor for output to DVD or H.264 for web.
-a-
ChuckS
Veteran
What are you mastering too? Why 4444? That's significantly more data than required for HD unless you need an alpha channel isn't it?
Are you using fiber channel drives?
Chuck Im only trying to give it as much space as possible for grading. On my pro plasma I dont see a great diff, but some small things are less visible when im pushing colours around.
Im editing on latest mac pro 8 core, with caldigit HD element - on raid 5 it throws out around 400mbps
Im editing on latest mac pro 8 core, with caldigit HD element - on raid 5 it throws out around 400mbps