![]() ![]() So when it comes to media management, for example, we can keep it simple and edit a project all from within one library. But we also have the benefit of producing, shooting, and editing completely independently, without having to interface with clients, producers, or other editors. We dived head first into FCPX from the day it came out, and we can't imagine using anything else in our day to day workflow. It's already been a lifesaver for us on several projects. 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. Thankfully we've come up with a workaround to let you edit with proxies and temporary media, and then later force FCPX to relink your edited clips to other media, bypassing the official relink tool. 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.įCPX does provide a simple method of transcoding your media to proxies from within the interface, and it's very simple to do.īut the devil is in the details, and for many videographers and working editors, the internal proxy function doesn't replace the traditional external proxy editing workflow. On top of everyone's list of frustrations is the inability to use external proxies, either generated by a camera or through a third party transcoding worfklow. Those are internally generated though, so what about relinking original media to camera generated proxies? Slavik Boyechko explores.Īpple'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. Since I hadn't done much editing yet, I just started over.Without a doubt, proxies within Final Cut Pro X make life a lot easier when dealing with larger formats. With dozens of clips, this would be time-consuming and annoying. You have to do one, then the next, then the next, and so forth. I would have to unlink a clip, slide the two pieces around until they were lined up, and then link them again. You can't slide one without sliding the other. ![]() Moving a clip with the audio and video linked wouldn't get them back in synchronization, because both pieces would move together. I needed to get all of my video and audio synchronized the way it had been originally. The whole point of linking tracks is to make sure they don't move relative to each other, isn't it? I don't see why this should have happened in fact, I don't see why the software allowed it to happen. All of the clips were still linked, and they had never been unlinked! Please take a look at the attachment to my first message. The audio was a few seconds behind the video. ![]() I did something (I'm not sure quite what) that left a gap in the audio, but not in the video. This was only a quick example showing that one particular tool, which looked like it might have done exactly what I wanted, won't work in my circumstances. The attached clip shows what happens when I try to remove a gap from one track when there is no gap in another track. At this point, everyone seems to have lost track of my original question.įirst, let's see if a movie is worth a thousand words. ![]()
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