So I shot a short on a RED a few years back and originally had an editor edit in FC7 so I had the footage transcoded for her to 1080p ProRes HQ. Decided to go back and re-edit it from scratch in FCP-X and was getting ready to send to a colorist when I hit a bit of a snag. Wanted to see if you may be able to help me problem solve it...
1. So I started from scratch importing the previously transcoded 4K RED Files (which were now 1080p ProRes HQ files) into FCP-X, and selecting the options 'leave files in place' and 'create proxy media' during the import. I was under the impression that I would be able to re-link all the clips in my sequence back to their original 4K RED files easily, but apparently there's another 'proxy media' option in FCP-X that I didn't select? Unlike Premiere and I believe Avid too, which are more straight forward.
Another tricky thing is that pretty much all the clips are synced clips as for some reason I wasn't able to simply pair the footage and audio from the boom/lavs together (I believe the issue might have been that there wasn't any on-camera audio recording, or something along those lines)
2. The other issue is what is the best way to go about giving only the new footage to the colorist for pickups instead of the entire short film (as he already colored the first version of this film and this is a complete new re-edit from scratch, though there is plenty of overlap in footage used)
Some ppl in an editing group im in had suggested possibly creating an XML out of FCP-X and using Da Vinci Resolve to reconnect them, bringing in all the source media and having Resolve conform it. Then setting a filter to weed out what is a OCN and what is rendered from the colorist.