re: batch capture loses ins and outs?
So upon attempting a batch import of a camera archive, after spending over an hour setting ins and outs, I come to realize when I selected the import button it didn't save ANY of the ins and outs I set. I then proceeded to surf the good community of us all and see if there had been any mention of such a thing. Days later I have yet to find info on the subject, which leads me to the best community around and post my problem here. I am currently reading the manual but I see no mention of going through all your footage and then batch capturing all of what you need while you eat, nap, workout, work in the yard, watch a movie, etc. Has this issue been addressed and I never read or heard it? Another basic functionality seemingly lost is the ability to walk away as you batch capture just what you need. How agonizing it is to import one clip at a time with a duration set? (waste of time) or do I waste my space and import all, and then try to sift through to conserve HD space? Which is what I am doing since it copied my material when I asked it not too in BOTH places.
Many thanks for your time!
Reality? What did you make it?
There is no way to batch capture in FCP X...
You could Batch capture in FCP 7, and import the clips in X, but batching tape isn't supported in X. It's a tapeless editor actually.
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: http://blogs.creativecow.net/Jerry-Hofmann
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I guess then what I mean to say is when I am importing from an archive and go through all
the clips and set ins and outs and then tell it to import all it doesn't remember the
in and out points. What am I missing? Even the help just glosses over this part. I used to do it all the time with log and transfer and it remembered them.
Reality? What did you make it?
Does this reply help?
Yes, totally frustrating and something that surely will have to be sorted out.
I've just tried in advance of a job we are doing this week to import clips from a GoPro. The very nature of a GoPro is that you stick it on things, turn it on and look at what what you've got afterwards. In my case we stick it on vehicles as they do on Top Gear.
So there is an enormous amount of redundant material. So to only be able to set one range at a time on import is a real pain because within one 10 minute clip there might be 3 or 4 short sections that you want actually use.
So selective import doesn't work really when you have a bunch of clips to process. Back to the old way of doing it - grab the lot - select the bits that you want - edit them together - export and import them and get rid of the bulky import file.
FCP X, with its ProRes 422 base level, seems to have little regard for the huge amount of data storage that it generates. Data storage, with all the backups, is expensive and it's a cost that is difficult, in todays financial climate, to pass onto a client.
So lets hope that intelligent digital ingest is one of the areas that is improved in the next update.
As long as the operating systems support it, FCP7 is going to be an essential pre production tool in relation to importing files intelligently. We use a Canon XF305 as well as Canon DSLRs and until Canon update their XF utility FCP7 is the only way of getting their files onto the system without resorting to
cheap and crude standalone programmes.
Producer and Director
I have a POV.HD which i use hemet mounted whilst cycling.
I have a similar problem, lots of 1080p25 H264 material from which I need just a few seconds shot.
(I am however usually using it in a "30 second loop" record mode, where material with the current loop and next is only kept when I manually tag it. during "record")
In FCP7 Editing these original files was like editing in treacle, editing then consolidating/transcoding did not seem to work. ( the transcoded/consolidate PRORES clips jumped in the timeline)
So in FCP7 I would transfer all of the clips (using steamclip as compressor crashed when used with a lot of clips (possibly a problem creating lots of thumbnails?) to PRORES LT, a job best left to run over night!
A few days worth often filled my editing Raid5. the originals are stored on a Drobo.
Then I do a compilation edit, then consolidate it ( adding "tape" names or it doesn't work!).
I would then delete the many original PRORES files, just keeping the H264 for archive.)
In FCPx whilst still sticky I can edit with the native H264 files. The log and tagging database will be very useful here. But you cannot consolidate from the story line ( In the browser, in any case the whole clip is transcoded not just the used material plus handles).
Copying the storyline with used data only, also copies the whole original file.
Looks like we need to get much more disc space, or perhaps apple plan a move to editing on the cloud and charging us for the extra storage required to store prores over the camera original?
Hopefully consolidate ( with an associated decompose and batch import back to the original camera archives) will work as we know it in future? Welcome to tapeless media!