From the course: Migrating from Final Cut Pro 7 to Final Cut Pro X

An editor's opinion: Getting the most out of the ingest - Final Cut Pro Tutorial

From the course: Migrating from Final Cut Pro 7 to Final Cut Pro X

An editor's opinion: Getting the most out of the ingest

- [Narrator] Now that you understand the major concepts of Ingest, I want to show you some ways to just get a little bit more out of it. So a couple thoughts of mine when it comes to Ingest with Final Cut 10, when I go ahead here and I say import, media, I just want to point out this idea of copy to library, it's phenomenal when you want everything to all live in a single place. This makes backing up the final project so easy, maybe you clean out the proxies, maybe you clean out the render files, but just this idea that I can have everything live in one place regardless of where it lives is, in a sense, preventing be from making the mistake I've made all those years of having stuff in a bunch of different folders and not realizing it's linked. On the other hand, link is phenomenal when I'm going to reuse the footage. If I'm using, for example, elements that I would always use in a project, like my logo, I probably want them to be left in place and just consolidate at the very end if I need to. Keep in mind the inspector gives you all sorts of information and I'm doing this for the entire library looking at the inspector, Command + 4. And anytime you want, you can consolidate elements in or out of the library. When I say modify, you can see I can choose whether my media lives in the library or somewhere else, same thing with my caches, and I can hit consolidate to copy it in or not. If I have proxies built, or optimized footage, it will show you those here at the bottom. I'm going to go ahead and open my prior library. And you'll see, it's got all the media copied to that library, and it's also showing you how large the optimized and how large the proxy footage is. And the beautiful thing about Final Cut's proxy system is all you have to do is throw this switch here under the view menu, to turn proxies on and off. And it's one of the most robust proxy systems I've ever seen, Apple has really buffed off all the edges of this concept of proxy footage. You either need to turn it on and have pro res proxy and it's a quarter size and it plays beautifully, you can choose optimize if you make optimized footage it's making it full-sized, pro res 422, whichever one you choose, you'll get significantly better playback with H.264, especially as we walk into 4K. It's the easiest proxy setup I've ever used in any of the editorial systems I work with.

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