We had almost 600GB in originals and 37GB for the 4K H264 proxies!! Postlab Pro Tips The transocded H264 4K proxies we made in Kyno were 15x smaller than the original re-wrapped Mov files. When we need to export a final 4K version we can relink to the original 4K source and export easily. With the rewrapped MOV files we make transcoded H264 files which are swapped 1 for 1 with the original. Not Proxies.Īnd to be clear we are treating these in FCPX as “new” originals not as actual FCPX proxies. Right click on a clip in Kyno to rewrap to Mov. In order to edit with small Proxies in FCPX but also be able relink to original (and larger) files easily we need to in our case re-wrap the original MXF to QuickTime MOV container. In this case we are using a Canon camera and ingesting MXF files. Workflows will depend on your goals, and your available tools. Copying the Proxies with Hedge to Postlab Drive. Whether you are copying Proxies to Postlab Drive or accessing your editing projects in Postlab the apps will guide you through. Source / Start to Destination / Projects. And the UI on both shows the simple aesthetic shared by the developers. Set up FCPX production and new FCPX library from template connected to proxies in Postlab drive.Uploading finished proxies to Postlab drive using Hedge.
Making re-wrapped in MOV files from the original camera MXF files using Kyno and then.Hedge to copy camera cards two external drives on set, and then Hedge copy the drive to Xsan.While we are exploring various workflow automations we are currently doing the following steps manually. Testing with other tools is always ongoing and during a recent test of the workflow we also tried EditReady from Divergent Media.
#Editready divergent media preferences software
We are using two other tools in our remote ingest workflow currently: Kyno from Lesspain software for rewrapping and converting camera footage and Postlab, the remote collaboration tool for Final Cut Pro (and Premiere Pro). It also has an API which made it easy to build an app that configures Hedge for its current task, and AppleScript support for extending automations after specified actions. This is very nice and very useful for troubleshooting. It verifies, and double checks its work and leaves receipts. Hedge has an easy interface to copy multiple sources (camera cards, usually) to multiple destinations (two external drives, or two SAN locations etc), and it does it well. Why use Hedge? A nice simple app which hides its complexity well. We use Hedge to copy camera cards to multiple drives on set (or after a shoot if on location) and then we use Hedge once more to copy one of these drives to the office shared storage (Apple’s Xsan). This is a snapshot in time of what we are trying now. I am always testing new tools and methods, so workflows change all the time. Note: I want to explain how our current workflow for editing remotely. For the new proxy workflow with FCPX 10.4.9 and Final Cut Pro 10.5 see my new blog post Use the overlay tool to burn-in timecode, reel names, shoot dates, media names, and other metadata.Update: This proxy workflow applies to Final Cut Pro 10.4.8 and earlier. Layout custom formatted text, including metadata values from the source media. Import images with alpha channels to apply complex bugs or watermarks. Use the overlay editor to position graphical elements for compositing on top of your video. Play back, trim, add LUTsĪnd there's more: screen your camera's original media files before you transcode them, apply a LUT to preview your Log media with or without a specific predetermined look, check your previewed clip in ScopeBox via our integrated ScopeLink connection, and set In and Out points to avoid transcoding unwanted parts of your clips. EditReady's unique color pipeline make this a breeze, translating everything to what you need it to be, without compromises. When a shoot mixes camera formats, you'll end up with a variety of color spaces, Log types, HDR formats, and LUTs. The end result? A high quality proxy that's easy to edit with, with all the flexibility a non-RAW format carries. EditReady uses each vendor's specific RAW decoder, using the vendor preferred Log format to reflect the original shooting intent. Use metadata to automatically rename files, or burn data into overlays. Review and edit metadataĮditReady lets you view and edit all of the metadata associated with your file, including location data, camera settings, and diagnostic information. Every codec gets transcoded as its makers intended it to. No unofficial frameworks, and zero hacks. Using each manufacturers' original SDK wherever possible to ensure the best quality transcodes.
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