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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Robbie Carman: In the last movie we took a look at, you know mounting a card and viewing it in the card inside a Final Cut Pro X. We took a look at making some select, some different ways to sort our selects and previewing them. Now there is one thing that we didn't mention before we actually jump into actually importing these clips. There is one handy little feature here inside of Final Cut Pro X that I think it's worth noting and it's pretty handy. And that's the Create Archive option. Rich Harrington: Yeah, if I click that I could actually back up the whole card to a destination. And that's not a bad idea because if I'm going to be transcoding the footage, I might want a fall-back.
Now, normally I would choose a whole other drive and end up with multiple copies, but it's still useful. Robbie Carman: Yeah, and the cool thing about this Rich, is that a lot of people get into this workflow of mount my card, transfer it to my drive on the OS level. Rich Harrington: Yeah. Robbie Carman: This kind of, you know, you don't need to do that. What you can simply do is mount your card with a memory card reader. You know, import the footage that you want to import and then create an archive to create a backup disk image or backup version of that card. So if you ever need to go back to it later, it's still intact and you can recycle the card for use in your camera. Rich Harrington: Yeah, and that works very well because that's going to be a verified copy and I like that option.
Robbie Carman: Yep. Rich Harrington: Alright, now I've got the clip selected. Robbie Carman: Yep. Rich Harrington: And I've got everything here. I've targeted them, I'm going to choose to import the selected clips. Robbie Carman: Right. Rich Harrington: Now, it's going to ask me, do I want to go to one of my existing events. Robbie Carman: Right, now you created an event already called SlowMo, but if you click in that window right there you can also create a new event. And Rich, an event is just a way of staying organized with your footage. It's not necessarily the same thing as a project, right? Rich Harrington: It's kind of like a bin. Robbie Carman: Yeah it's, it gets a little confusing but we're not here to give you everything you need to know about Final Cut Pro X, there's a lot of great training on lynda.com online training library for that, but.
Rich Harrington: Think of it as a point in time that the footage came from. Robbie Carman: Precisely. Rich Harrington: So, this was my day or this was my trip. It doesn't have to be singular, but you import everything from one particular shoot, or event, into an event. Robbie Carman: Right. So, let's create a new event and just call it Importing or Disney or whatever you want to call it. There we go. Perfect. The next thing that we have an option to do is where are we going to actually bring this media to? Like what driver are we going to use? Rich Harrington: Hm, the internal SSD with 76 gigs or 4.2 terabytes? Robbie Carman: I'm thinking the 4.2 terabytes of redundant storage.
Yes, that's probably a good one. Now, down at the in the bottom section here we have a couple organizing things, but those are sort of grayed out, because we're not dealing with folders and such on this particular card. But the first option that we really have is to transcode this footage or not. And Final Cut Pro X calls this Create Optimized Media and Create Proxy Media, right? So, when we Create Optimized Media, what's going to happen is in the background, Final Cut Pro X is going to transcode all this footage to Apple ProRes 422. Rich Harrington: At 422 the files are going to be bigger, but it's going to be easier for computers to play that back.
Robbie Carman: Right. Rich Harrington: Now I would, I have mixed feelings about transcoding. My feeling is, is it doesn't put any extra quality in. Robbie Carman: No. Rich Harrington: In this case. And my computer's fast enough, so I generally won't optimize the media. But some people are working with other folks who they have to hand the media off to and they may require it, right? Robbie Carman: And that's precisely the point. It's a work flow decision. You know? Final Cut Pro X obviously can work just fine with HG64 files off your DSR for example. But if you're interacting with other edit systems, you're working with finishing systems like color correction, and stuff like that, you might want to create ProRes files.
And the same holds true for creating proxy media. If you have just a, a bejillion hours of footage, instead of, you know, optimizing the media to go to full res media, you can also create proxy media which is going to give you a smaller lower data rate file to work with inside of Final Cut Pro X. Rich Harrington: Yeah, so I'll leave Optimize Media checked for now, and on import we also have the ability to choose if we want to analyze clips here, right? Robbie Carman: Yeah Rich, in this analyze for color balance feature is brilliant. I actually did a title here on lynda.com called Color Correction in Final Cut Pro X.
And this feature is a perfect one to use for color correction purposes. because what it does, is that it analyses your clip for problems with exposure and color and that kind of stuff. And then later on in the editorial process if you choose to enable it, you can perform automatic color correction on the clip to sort of balance the color and exposure out. Which saves you a lot of time. And it doesn't take. Rich Harrington: It is, it is a choice though right? You don't have to use it. Robbie Carman: It is a choice but it, it happens in the back, background. That processing goes pretty quick, and it happens in the background. And, if you forget to do it here, you can always choose to do it later on a clip or a batch of selected clips to analyze them later on if you forgot to do it.
So, not checking here, not a big problem. But it's one of those things that happens pretty quickly, so generally speaking, I'd keep it checked on. Rich Harrington: It depends, you know. If you want the fastest import, you can uncheck it and then run it on the clips after they're in the event. So it just sort of depends on how much of a hurry you're in. Robbie Carman: Sure. Rich Harrington: Since we're transcoding, and the files are going to take a while to transfer anyways, I'll do the analysis now. If I was just doing it in the non-optimized media, just bringing it in straight off the card, I'd leave it unchecked. Robbie Carman: Right, and there's a couple more other analyzation features we have. We have the Find People feature, which, to be honest with you, I think is, kind of cool, but on, I, I don't, I don't know.
Rich Harrington: I could find people. Robbie Carman: I could find out what people, who people look like. Rich Harrington: Hey, look it's a person. Robbie Carman: Right. Right. There's Mom. But the audio function functions are actually really cool. So, you can analyze and fix audio problems like pops, clicks, that kind of stuff. But then you can also separate and or, or mono and group stereo audio. So, not so much going to be an issue with DSOR workflow, but if you had, you know, other camera systems that were shooting multiple channels and those channel configurations were messed up, you can fix that as well. Rich Harrington: Alright, so I'll double check my things from top to bottom. I have the name of an event. I have the drive targeted.
I've told it to go ahead and create optimized media in this case. It's going to analyze for color and I'm going to let it do the analysis for audio. I don't need to separate the channels in this case. Robbie Carman: Nope. Rich Harrington: So I'll click Import. And that process begins. So, now that it's running, it's going to take a little while. Robbie Carman: Yep. Rich Harrington: because I'm doing the transcode. Is it going to transcode while it's importing or is it going to import and then transcode? Robbie Carman: It's a background process, right? So that footage is going to be imported, and you're not, it's kind of a little unique thing about Final Cut Pro X, you'd think, oh, I'm only bringing in the optimizer-transcoded media.
Well, in fact, you're bringing in the original footage and then you're bringing in the optimized footage, and when the optimized footage is ready for you to work with. Rich Harrington: It'll just roll over. Robbie Carman: Seamlessly, you're working with that optimized footage. So, it's a nice thing to do because it can happen in the background and you can start working immediately and then when the optimized footage is ready, you can be working with that seamlessly. Rich Harrington: The clips are coming in and they're actually ready to start editing with. If I click the progress indicator I get a pretty good idea what's coming in. In other words, most of the clips have already imported. Robbie Carman: Yep. Rich Harrington: And it's pulling them off of the card to my target drive. Robbie Carman: Yeah.
And if you twirl down the transcoding and analysis section, you can see a similar amount of information there, right? It's analyzing and transcoding those clips. Now this process is obviously happening a little slower because it's more a heavy duty task, you know, it's actually transcoding the footage. But it's nice that this is happening in the background, and it's also very nice that it's just not happening out there somewhere in the ether. You can sort of get an idea of, you know, where you are in the process. Rich Harrington: So I'm not locked out from working. It is doing the transcode. The transcoding process is significantly slower than just importing and working native. So, don't automatically assume that you need to do that.
But notice, the importing's done. Robbie Carman: Yep. Rich Harrington: Everything's in good shape there. Now, it's generating audio wave forms for some of that material. And if I look in the bins here, this footage is ready to use. I've actually got all of that original camera media there. Robbie Carman: Mm-hm. Rich Harrington: And while it's transcoding, I could still load these things up and actually start to take a look at it. I'm not locked out. So there's all that footage. I could double-click, and it comes up, and, of course, as we skim through, we can see that, or we could take advantage of playing it back and actually see our footage.
So everything's in there. We're ready for edit, right? Robbie Carman: Absolutely. So, I think you can see that it's a pretty easy process of importing clips in Final Cut Pro X. We started out with mounting a card and viewing that card inside of Final Cut Pro X. We made selects. We viewed clips. Then we took a look at actually importing those clips with that other dialogue that pops up where you have some additional options for analyzation and transcoding and that kind of stuff. And don't forget the cool option also, and very useful option, of creating an archive of your camera memory card which will save you in certain situations if you ever need to go back to that original and have already wiped your card.
Rich Harrington: And I just want to reiterate, don't assume you have to transcode. Robbie Carman: Sure. Rich Harrington: A lot of folks got used to transcoding to ProRes especially under Final Cut Pro 7. That was necessary because you didn't have an app that was actually multiprocessor aware, and able to use a lot of ram. You didn't have a great graphics card. These operating systems, the software itself, are really designed to work native. So unless other people down the line require it, don't blow the file size up unnecessarily. For lynda.com, my name's Rich Harrington. Robbie Carman: And I'm Robbie Carman. Rich Harrington: Thanks for joining us.
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