Hi,

need detailed information for a new setup with other companies (TV Stations).

I just need some real life experiences from FCP Users:

Is it possible to:

- import proxies from different discs
- edit proxies only in FCP for later replace
- how does FCP replace the proxies (user command or ALWAYS in the background without user´s influence)

Is there a way to sort / mark (META) / comment proxies for later use?

As you see, all these questions are supposed to use proxies for "logging".

Since there are limitations in the workflow with pdz1 I ask myself if its not easier to use FCP (on a macbook) for on-the-road logging already, to be used later in the studio.

This would mean there must be ways of marking / renaming / commenting proxies for later editing....

It would be great if the whole production could be kept on the proxy level as long as possible (no need of wasting harddrive space forehand).

SECOND: If PDZ1 has been used (on a pc) for creating Edit Lists - which of these files (there are several choices) can be used in FCP?
Using EDLs with XDCAM HD: Does it also integrate proxies or does it import full res files at once?


Any comments welcome!

ULi

Uli,

I'm sure you've answered these questions for yourself by now but just in case, and for other forum browsers ...

FCP's XDCAM workflow implementation follows a high res ONLY methodology. There is no built in support for off-lining with the proxies and then up-res'ing after the fact. Apple, it seems, are simply not interested in pushing a low-res workflow with XDCAM/FCP, instead they prefer to sing the praises of how easily FCP handles the full HD res workflow.

Of course, there are always workarounds. With XDT (XDCAM Transfer) you can export the proxies from the disc/database to a media directory and as quicktime native .mov files which you can then edit in FCP within an OfflineRT HD timeline. The native codec of the proxies is not supported directly in FCP but with "Unlimited RT" enabled the performance in the OfflineRT HD timeline is just fine ... however, the proxies will have 8 track compressed audio which presents a problem to FCP. Again, there is a workaround. You can strip the unwanted audio tracks from the clips using a third party tool such as David Heidelberger's Audio Track Batcher. With just 2 track compressed audio the clips can be edited easily in FCP.

Next comes the issue of re-conforming the proxy timeline to the full res media. Because Sony does not offer a means for a third party to communicate with their XDT software, there is no way to instigate partial file copies via FAM for the purpose of upres-ing a proxy timeline ... you can however revert to a traditional linear capture workflow for batch capture of only the media required for the upres via and HD I/O interface. Alternatively, you can use FAM to import all the full res media matching the proxies and then link a full res copy of your edit to the high res media in place of the proxies.

Regarding your questions regarding marking up proxies, you can use the XDT software to log the proxies and that data will transfer into FCP after the fact when the high res media is imported.

Comments? I'd have to ask is it really worth it? If you are using FCP then the full res workflow seems to be bar far the simplest option ... and if a proxy workflow is essential then I'd have to suggest using Vegas, Edius or Avid.

Hope thats useful
Andy

very well explained. Very well said.
thx Andy.

Hi,

thanks for the explanation.

I am using Vegas - the question about FCP and proxy editing is for interoperability with an other studio (some hundred kilometers away). We thought transferring proxies first would be a good idea to start editing without having accesss to the hires data.

The other editor uses FCP only.

ULi