Trying to get from FCPX to Premiere Pro CC 2014.
Using Xto7 I can get the files over but only the audio works.
The R3D clips are generic icons with question mark on it.
Double click and you get the "Edit Offline" pop-up box.
Need to sync audio in FCPX and then prep for Premiere.
I cant get Premiere to merge audio sync these files using audio.
Works with TimeCode but not all files got blessed.
FCPX did the whole lot flawlessly.
Media Browser is set up to correctly interpret various file types. Finder imports simply read the OS file directory. As far as synchronized clips, XML translations are very hit or miss with multicam and synchronized clips. I've had a lot of grief this way. You might try syncing them in FCP X as multicam and see if that works better.
Thanks Oliver and yes I have synced them in FCPX which gives me a 99% success rate in the last year with R3Ds :)
However the director/editor wants to use Premiere.
I guess I can send these to Resolve via XML and then output to ProRes444@4K for Premiere.
Any thoughts on this process?
Sure, working in Resolve would also work, but you might want to tweak the raw settings before export if there are any issues. That way you won't be constrained by not grading in raw should you need to adjust color temperature, for example. As a test at least, I would suggest syncing as multicam in X and see if that translates better into Premiere.
Thanks Oliver and yes all R3Ds are checked in RCXPro first before hand.
Thats the thing, I wish I could convince Director to use FCPX and keep the R3Ds intact.
Jeremy I wish I can use TC across the board :(
On average its about 15% of the project has timecode.
They kept losing jam sync due to...who knows I wasnt on set :(
With Resolve I can easily just select one clip (Media Pool) and apply TC and the whole lot with TC becomes synced.
I wish FCPX had that.
You still have to manually select each clip to apply that setting.
I haven't tried Resolve so I'm not sure, but yes potentially any XML created outside of X that sends over synced clips.
It's an easy test. Import the XML with 4k sync'd clip, put a 4k sync'd clip in a 1080 timeline. The spatial conform controls won't work, and the clip properties of the clip in the timeline are listed as 1080 (or the raster size of the Project) when its in the timeline, even though the XML states the clip is 4k. In the Browser, the clip retains the 4k properties.
Jeremy I have done the XML exchange with a Director/Editor on his movie.
He would send me the FCPX XML and I can open the file on mine.
But we kept everything 1:1 so I never run into that issue.
I love the FCPX Sync option, I honestly cant understand why Premiere doesnt work with my recent shoot.
The scratch mic audio on the clips seem loud enough.
I wish Resolve had this built in.
Have you had good results using the RCXPro TC sync?
I had issues with that as well.
But then Im dealing with a batch of mags that have intermittent TC on it :P
[Oliver Peters]"Unfortunately this is why old school - having a slate with a clap - is still the most reliable method."
Yep I have to rely on that big time.
This isnt the first time Ive had to do this.
Last fall it was another 800 plus R3D shoot that I manually synced in FCXP.
I had to get it into Avid MC.
I used Resolve as the transfer and that was actually fun.
Sadly the in the end that movie had to have 80% ADR :(
I am currently researching TC boxes.
Since Im the owner of this RED gear Im gonna have to bite the bullet and enforce this for future shoots.
Recent purchase of a 4pin to 5pin Lemo wasnt good enough since you have to jam after every camera shutdown.
Such as life.
[Eric Santiago]"Have you had good results using the RCXPro TC sync?
I had issues with that as well.
But then Im dealing with a batch of mags that have intermittent TC on it :P"
It works when the tc is in sync! :)
If not, there are manual sync options by setting the slate on both audio and video, but it's laborious. I would end up doing it in fcpx just like you.
I'm lucky in that for the most part, the tc is usually in tact from the shoot .
It's to the point now that most audio folks we work with record double system sound and jam tc without even asking if we need the capability, they just do it. I think that there are so many different cameras and so many different settings and ways to screw things up, most audio folks run the double system as the known master.
I have also started to get in the habit of having them name the audio channels, and the using Sync-N-Link, all the audio components and Roles come in pre named. The audio post guys love it as all of that info gets passed off to the AAF for post.
I don't have any experience using Pr's waveform sync capabilities, so I'm not sure why it wouldn't work with R3Ds, specifically.