Alister Chapman
October 2nd, 2009, 04:01 AM
Hi guys. I have been looking into this and this is the workflow suggested by Sony for dealing with Proxies in FCP. I have tried it and it works. It is a workaround and there is some fiddling to be done when you swap the proxies for the full res clips.
From within FCP go "Import" "XDCAM" to start the XDCAM Transfer tool.
In the Transfer Tool go to the "Add Source" button at the bottom left and navigate to the memory stick, drive or camera where your proxy files are stored. Navigate to the "Sub" folder where you will see the proxies saved as .MXF files. Select one of the MXF's and click "open".
The Proxies will appear in the transfer tool, select the files you wish to work with and click "import" just as you would with full res clips. You can even make subclips if you wish.
Perform your edit with the proxies within FCP.
Once the edit is done you must delete the proxies from your hard drive. The Proxies will be stored in the location set in the Transfer Tools preferences. FCP will now show the media as being offline.
Now you import the full resolution clips. Connect the camera or deck with the Disc with the full res clips. Then from within the Transfer tool select the clips to import as you would normally, except deselect "send clips to final cut pro project". You don't want to add the clips to your project at this point.
Go back to FCP and start to reconnect the media by right clicking on an offline file and selecting "reconnect files". Click the locate button and point the program to the High Resolution clips stored in the import location set in the transfer tools preferences (this is where the proxies were before you trashed them). You must uncheck the "matched Name and Reel Only" box as the clips will have slightly different names. Subclips (proxies) have an extra "S01" added to the end of the file name, so you have to manually re-link each clip which is a pain. In addition because of the slightly different clip names you will get a "File Attribute Mismatch" error message, but you can ignore this, just click continue.
Once you have your clips in FCP the last thing to check is that the sequence settings are correct for the full resolution files.
It's far from perfect, but it works. If you were going to use this workflow you might be better off using the continuous clip record mode in the camera as you would then only have one single clip to swap out.
My thanks to David Young at Sony PSE for helping me with this.
From within FCP go "Import" "XDCAM" to start the XDCAM Transfer tool.
In the Transfer Tool go to the "Add Source" button at the bottom left and navigate to the memory stick, drive or camera where your proxy files are stored. Navigate to the "Sub" folder where you will see the proxies saved as .MXF files. Select one of the MXF's and click "open".
The Proxies will appear in the transfer tool, select the files you wish to work with and click "import" just as you would with full res clips. You can even make subclips if you wish.
Perform your edit with the proxies within FCP.
Once the edit is done you must delete the proxies from your hard drive. The Proxies will be stored in the location set in the Transfer Tools preferences. FCP will now show the media as being offline.
Now you import the full resolution clips. Connect the camera or deck with the Disc with the full res clips. Then from within the Transfer tool select the clips to import as you would normally, except deselect "send clips to final cut pro project". You don't want to add the clips to your project at this point.
Go back to FCP and start to reconnect the media by right clicking on an offline file and selecting "reconnect files". Click the locate button and point the program to the High Resolution clips stored in the import location set in the transfer tools preferences (this is where the proxies were before you trashed them). You must uncheck the "matched Name and Reel Only" box as the clips will have slightly different names. Subclips (proxies) have an extra "S01" added to the end of the file name, so you have to manually re-link each clip which is a pain. In addition because of the slightly different clip names you will get a "File Attribute Mismatch" error message, but you can ignore this, just click continue.
Once you have your clips in FCP the last thing to check is that the sequence settings are correct for the full resolution files.
It's far from perfect, but it works. If you were going to use this workflow you might be better off using the continuous clip record mode in the camera as you would then only have one single clip to swap out.
My thanks to David Young at Sony PSE for helping me with this.