5D Mark 2 FCPX workflow

Hi guys,

I did not know where to post this, so I posted it in this section.

I wanted to check on your various workflows for those of you shooting with a 5D Mark 2 and editing in FCPX.

Here is what I do:
1.Copy all the MVI files to an external hard disk as H264 files.
2.Load all the MVI files to a batch list in mpeg streamclip
3.Transcode to XDCam EX HD 1080p 25fps at 35 mbps as they are much lighter than Pro Res files (got this tip from Philip Bloom but it was when he was working with FCP7)
4.Import the XDCam EX files in an event in FCPX, no file copying, no optimizing.
5.Start to work

The pro is that you can really get to work as soon as the files are imported in FCPX
THe con is obviously the time spent in mpeg streamclip (but I usually do this overnight) and the duplication of files.

I know that FCPX can take H264 files straight out of the camera so to say, but then you end up having a lot of transcoding while you start to work and I have found it frustrating as it does slow FCPX down a lot. Not sure how it behaves with color grading as well then.

Let me know what your workflow is and how you feel about it.

Best,
Julian

Stupid question: Why Streamclip and not Compressor?

Good point.

I guess we all have our habits or superstitions

I generally use compressor for the output and am a great fan of Compressor in general and it is true I could create a droplet on my desktop just for this purpose.

But for the media preparation before the ingest, I prefer using Mpeg Streamclip as it seems faster and is really convenient for batch list. But I could be wrong about the speed.

Yeah, Streamclip is faster than Compressor.

I use a 5DmkII with FCPX as well. When I was working with FCP7, I used the Philip Bloom method as well. It works fine and all, with one major drawback: transcoding.
Having to wait for gigabytes of footage to be converted from H.264 to XDCAM took a while and seriously hindered my editing speed. In your case you do it overnight and I suppose that works however I've had no problem optimizing media in FCPX to ProRES. Yes the drawback is file size but you're given the advantage of being able to edit instantaneously while it transcodes in the background.
I haven't experienced major performance drawbacks because the first portion of my editing workflow is key-wording, favoriting clips and rejecting the garbage. By the time this is done, my clips have been transcoded and my media is completely sorted out and ready to edit.

I understand this method isn't necessarily working for you but it seems to get the job done for me. I prefer having FCPX handle my clips and properly place them in the database of events.

-Athan

You can Batch with a Droplet, too. Just drop a ton of files on it at once. Easier yet, a single folder's worth.

I have a Compressor droplet to transcode to ProRes LT that I use for video from a 7D, Contour, or Drift.

Edit: I'm doing this because my hardware is 4+ years old. When I next update I expect the hardware to be fast enough that I won't need to transcode or I'll let FCPX do it in the background.

Any footage that is from a 5D Mark II or any other wannabe I mean DSLR camera :evil: is being treated the same as any other Solid State camera. Except for one step the creation of a Camera Archive which I wish it could be done after import or with any media...

Footage gets imported into FCPX on to a XSAN, then it gets tagged and keyword(ed), then we let FCPX do its magic.
When the Event is needed for Battle it get copied to a local media drive.

"...it get copied to a local media drive." Doesn't that defeat the whole purpose of XSAN? SANs let editors not have to download/upload anything. They can "edit in place" on an XSAN. Making it even more adaptable for FCP X.

I heard during a meeting for Apple trainers today, something I "assume" was a hint that media management withing FCP X will be expanding and improving. I have no facts, I just heard a comment that I interpreted and have nothing by this little bit of speculation. It's just my personal speculation. But seeing as how FCP X runs on top of the same database engine as Final Cut Server, I can't help but expect there to be a lot more SAN support coming.

As many FCSvr systems as I've designed, installed, and continue to maintain, I'd love to see a lot of that open up inside FCP X really soon. Even more, I'd love to see FCSvr come back, period. Nothing on the market today can touch it, especially for the price.

The reason why we do this is

• one could take it with them (external media drive),
• two multiple people will access to the same footage
• three some swear it is faster working of the internal then fiber :dry:
• the last what if the SAN goes down...

but myself I work of the SAN with Proxy when I am in the studio unless it is relaxed or small job the I can care around with me.
A check out and check back in for project would be cool...

Yeah Final Cut Server was cool but calculating the hardware and looking at the options I would stick with EditShare.

On a properly configured and tuned fibre network, it's just as fast as an internal drive for editing. The most slightest difference, but hardly anything to notice, if the network is really busy. I've been working with XSAN media production networks for years. Half the time when we first train newbies, they don't even know they're not on an internal drive.

Properly configured XSANs don't go down. Yes, it's true. If you don't do it right, yes, it can go down. But with proper primary and fail-over MDCs, it's extremely, extremely rare an XSAN goes down. In fact, over all my years of doing XSAN, I've yet to personally see one actually go down. I did help someone with an XSAN that went down, because it wasn't designed properly, and we had it back up in 20 minutes.

Full rez HD shouldn't be any problem for a properly configured XSAN.

I'd not touch Edit Share for all the tea in China. I've worked with it, not happy with it, and it's still more expensive, more difficult to deal with, and not nearly as robust and flexible as FCSvr. Again, nothing on today's market can touch what FCSvr was, not for the price, not for the functionality.

Thanks Athan,

I will give it a go in my next project and see how it compares to my current workflow. Just as you do, the first steps are synchronizing the interviews with Plural eyes and then move to tagging the b-roll.

BenB wrote: On a properly configured and tuned fibre network, it's just as fast as an internal drive for editing. The most slightest difference, but hardly anything to notice, if the network is really busy. I've been working with XSAN media production networks for years. Half the time when we first train newbies, they don't even know they're not on an internal drive.

Properly configured XSANs don't go down. Yes, it's true. If you don't do it right, yes, it can go down. But with proper primary and fail-over MDCs, it's extremely, extremely rare an XSAN goes down. In fact, over all my years of doing XSAN, I've yet to personally see one actually go down. I did help someone with an XSAN that went down, because it wasn't designed properly, and we had it back up in 20 minutes.

Full rez HD shouldn't be any problem for a properly configured XSAN.

I'd not touch Edit Share for all the tea in China. I've worked with it, not happy with it, and it's still more expensive, more difficult to deal with, and not nearly as robust and flexible as FCSvr. Again, nothing on today's market can touch what FCSvr was, not for the price, not for the functionality.

You right and our XSAN hasn't crashed yet but that doesn't mean it won't.
I have seen many systems go down which where human error or nature of power outage.

Hmmm I can say I have worked with EditShare on many Jobs and it is rock solid, uptodate and very flexible... not sure how to intake your comment on EditShare and Final Cut Serve as known there is no best solution for everything. But you are close with a cross platform solution. Out of curiosity what was the setup you where working on?

But back to the workflow how many Final Cut Pro X can access the same XSAN at one time?

"I have seen many systems go down which where human error or nature of power outage."

Only if they're not properly set up. There should be no way for non-authorized users to access anything that could take the system down. UPS use prevents power outages from taking anything down. Again, none of the many XSAN / FCSvr systems I've personally set up have ever crashed. It's actually rare in the industry for a SAN to ever crash.

But back to the workflow how many Final Cut Pro X can access the same XSAN at one time?

UPS why would we need a UPD if we have 2K Diesel Engines on our facility.
After thinking about XSAN crash what part do you mean?

BAD XATTR CODE

Back to the Topic...

If you're working in Final Cut Pro 6 or 7 then the hands down best workflow is to use the Canon EOS E1 Plugin. You should NEVER use MPegStreamClip IMHO.
The Canon plugin gives you all the metadata, you can select a range to import, you can batch, you can import to proxy and then reimport to a higher res including ProRes444, you get the time of day converted to a timecode track, the benefits go on and on.

For FCP X I just the method outlined previously.
Copy card media to a medium speed drive. (This will be your back up.)
Open Final Cut and import the .mov files selecting Transcode to ProRes and or Proxy depending on how fast your machine is. Don't copy media unless you have tons of space.

This way you can begin editing straight away, no long periods of using MpegStreamClip to convert everything.

I really hope Canon is working on a plugin for Final Cut Pro X similar to the EOS E1.
I would love to be able to get a good timecode track with my 5D files.

Seanus wrote: You should NEVER use MPegStreamClip IMHO.
I

Hi Seanus, do you mean in general or for this particular task. I have used it for years and always found it fast, convenient and reliable for many tasks?

Cheers,
Julian

That is a good point I would myself would also like know why?
I have seen mpeg stream clip save the day many times.

Sorry I should have clarified. I mean 'never' with FCP 7 only because the EOS E1 plugin is so good. And it's very fast. With FCP X I guess it's a matter of taste. I certainly won't use it there either because I find the built in process to be faster as well, as you can begin editing while transcoding is happening.