#Editready mojave pro
#Editready mojave software

The EditReady files kept the original names but they were all in one folder. The only objection the editors had was that in Kyno we could keep the folder structure of the original camera cards and they felt that this lent some confidence to being able to track the files to the camera card folders if any media was missing or misplaced. Kyno vs EditReadyĪnother small issue we encountered in testing was that we could make the rewrapped Mov files in Kyno or in EditReady and both were fine. If you have a fast SSD or an external drive then move that cache and increase the size. By default the Postlab cache is your local drive and only 20GB.

#Editready mojave pro

Postlab pro tip #2 –> Keep your cache large and fast. Modifications of old habits are always tough but technical reasons may force a change in habits here. You can check in a version of the library and duplicate library for an alternate version. Now we are trying to work around this habit with Postlab itself. We knew that and we had Storage Locations set to outside of the library but one new issue came up when the libraries grew really big and we realized the editors were making multiple sequences, not backups, but versions. Keep all media and cache files out of the library. Working with Postlab pro tip #1 –> keep those FCPX libraries light. We had almost 600GB in originals and 37GB for the 4K H264 proxies!! Postlab Pro Tips The transocded H264 4K proxies we made in Kyno were 15x smaller than the original re-wrapped Mov files. When we need to export a final 4K version we can relink to the original 4K source and export easily. With the rewrapped MOV files we make transcoded H264 files which are swapped 1 for 1 with the original. Not Proxies.Īnd to be clear we are treating these in FCPX as “new” originals not as actual FCPX proxies. Right click on a clip in Kyno to rewrap to Mov. In order to edit with small Proxies in FCPX but also be able relink to original (and larger) files easily we need to in our case re-wrap the original MXF to QuickTime MOV container. In this case we are using a Canon camera and ingesting MXF files. Workflows will depend on your goals, and your available tools. Copying the Proxies with Hedge to Postlab Drive. Whether you are copying Proxies to Postlab Drive or accessing your editing projects in Postlab the apps will guide you through. Source / Start to Destination / Projects. And the UI on both shows the simple aesthetic shared by the developers.

Set up FCPX production and new FCPX library from template connected to proxies in Postlab drive.

Uploading finished proxies to Postlab drive using Hedge.

Making re-wrapped in MOV files from the original camera MXF files using Kyno and then.

Hedge to copy camera cards two external drives on set, and then Hedge copy the drive to Xsan.

While we are exploring various workflow automations we are currently doing the following steps manually. Testing with other tools is always ongoing and during a recent test of the workflow we also tried EditReady from Divergent Media.

#Editready mojave software

We are using two other tools in our remote ingest workflow currently: Kyno from Lesspain software for rewrapping and converting camera footage and Postlab, the remote collaboration tool for Final Cut Pro (and Premiere Pro). It also has an API which made it easy to build an app that configures Hedge for its current task, and AppleScript support for extending automations after specified actions. This is very nice and very useful for troubleshooting.

It verifies, and double checks its work and leaves receipts. Hedge has an easy interface to copy multiple sources (camera cards, usually) to multiple destinations (two external drives, or two SAN locations etc), and it does it well. Why use Hedge? A nice simple app which hides its complexity well. We use Hedge to copy camera cards to multiple drives on set (or after a shoot if on location) and then we use Hedge once more to copy one of these drives to the office shared storage (Apple’s Xsan).

This is a snapshot in time of what we are trying now. I am always testing new tools and methods, so workflows change all the time. Note: I want to explain how our current workflow for editing remotely. For the new proxy workflow with FCPX 10.4.9 and Final Cut Pro 10.5 see my new blog post Update: This proxy workflow applies to Final Cut Pro 10.4.8 and earlier.