With echoes of Monty Python in the background, two years on, Final Cut Pro 7 and Final Cut Studio are still widely in use. As I noted in my post from last November, I still see facilities with firmly entrenched and mature FCP “legacy” workflows that haven’t moved to another NLE yet. Some were ready to move to Adobe until they learned subscription was the only choice going forward. Others maintain a fanboy’s faith in Apple that the next version will somehow fix all the things they dislike about Final Cut Pro X. Others simply haven’t found the alternative solutions compelling enough to shift.
I’ve been cutting all manner of projects in FCP X since the beginning and am currently using it on a feature film. I augment it in lots of ways with plug-ins and utilities, so I’m about as deep into FCP X workflows as anyone out there. Yet, there are very few projects in which I don’t touch some aspect of Final Cut Studio to help get the job done. Some fueled by need, some by personal preference. Here are some ways that Studio can still work for you as a suite of applications to fill in the gaps.
There are no more version updates to Apple’s (or Adobe’s) DVD creation tools. FCP X and Compressor can author simple “one-off” discs using their export/share/batch functions. However, if you need a more advanced, authored DVD with branched menus and assets, DVD Studio Pro (as well is Adobe Encore CS6) is still a very viable tool, assuming you already own Final Cut Studio. For me, the need to do this has been reduced, but not completely gone.
Final Cut Pro X has no batch export function for source clips. This is something I find immensely helpful. For example, many editorial houses specify that their production company client supply edit-friendly “dailies” – especially when final color correction and finishing will be done by another facility or artist/editor/colorist. This is a throwback to film workflows and is most often the case with RED and ALEXA productions. Certainly a lot of the same processes can be done with DaVinci Resolve, but it’s simply faster and easier with FCP 7.
In the case of ALEXA, a lot of editors prefer to do their offline edit with LUT-corrected, Rec 709 images, instead of the flat, Log-C ProRes 4444 files that come straight from the camera. With FCP 7, simply import the camera files, add a LUT filter like the one from Nick Shaw (Antler Post), enable TC burn-in if you like and run a batch export in the codec of your choice. When I do this, I usually end up with a set of Rec 709 color, ProResLT files with burn-in that I can use to edit with. Since the file name, reel ID and timecode are identical to the camera masters, I can easily edit with the “dailies” and then relink to the camera masters for color correction and finishing. This works well in Adobe Premiere Pro CC, Apple FCP 7 and even FCP X.
Timecode and reel IDs
When I work with files from the various HDSLRs, I prefer to convert them to ProRes (or DNxHD), add timecode and reel ID info. In my eyes, this makes the file professional video media that’s much more easily dealt with throughout the rest of the post pipeline. I have a specific routine for doing this, but when some of these steps fail, due to some file error, I find that FCP 7 is a good back-up utility. From inside FCP 7, you can easily add reel IDs and also modify or add timecode. This metadata is embedded into the actual media file and readable by other applications.
Log and Transfer
Yes, I know that you can import and optimize (transcode) camera files in FCP X. I just don’t like the way it does it. The FCP 7 Log and Transfer module allows the editor to set several naming preferences upon ingest. This includes custom names and reel IDs. That metadata is then embedded directly into the QuickTime movie created by the Log and Transfer module. FCP X doesn’t embed name and ID changes into the media file, but rather into its own database. Subsequently this information is not transportable by simply reading the media file within another application. As a result, when I work with media from a C300, for example, my first step is still Log and Transfer in FCP 7, before I start editing in FCP X.
Conform and reverse telecine
A lot of cameras offer the ability to shoot at higher frame rates with the intent of playing this at a slower frame rate for a slow motion effect – “overcranking” in film terms. Advanced cameras like the ALEXA, RED One, EPIC and Canon C300 write a timebase reference into the file that tells the NLE that a file recorded at 60fps is to be played at 23.98fps. This is not true of HDSLRs, like a Canon 5D, 7D or a GoPro. You have to tell the NLE what to do. FCP X only does this though its Retime effect, which means you are telling the file to be played as slomo, thus requiring a render.
I prefer to use Cinema Tools to “conform” the file. This alters the file header information of the QuickTime file, so that any application will play it at the conformed, rather than recorded frame rate. The process is nearly instant and when imported into FCP X, the application simply plays it at the slower speed – no rendering required. Just like with an ALEXA or RED.
Another function of Cinema Tools is reverse telecine. If a camera file was recorded with built-in “pulldown” – sometimes called 24-over-60 – additional redundant video fields are added to the file. You want to remove these if you are editing in a native 24p project. Cinema Tools will let you do this and in the process render a new, 24p-native file.
I really like the built-in and third-party color correction tools for Final Cut Pro X. I also like Blackmagic Design’s DaVinci Resolve, but there are times when Apple Color is still the best tool for the job. I prefer its user interface to Resolve, especially when working with dual displays and if you use an AJA capture/monitoring product, Resolve is a non-starter. For me, Color is the best choice when I get a color correction project from outside where the editor used FCP 7 to cut. I’ve also done some jobs in X and then gone to Color via Xto7 and then FCP 7. It may sound a little convoluted, but is pretty painless and the results speak for themselves.
I do minimal mixing in X. It’s fine for simple mixes, but for me, a track-based application is the only way to go. I do have X2Pro Audio Convert, but many of the out-of-house ProTools mixers I work with prefer to receive OMFs rather than AAFs. This means going to FCP 7 first and then generating an OMF from within FCP 7. This has the added advantage that I can proof the timeline for errors first. That’s something you can’t do if you are generating an AAF without any way to open and inspect it. FCP X has a tendency to include many clips that are muted and usually out of your way inside X. By going to FCP 7 first, you have a chance to clean up the timeline before the mixer gets it.
Any complex projects that I mix myself are done in Adobe Audition or Soundtrack Pro. I can get to Audition via the XML route – or I can go to Soundtrack Pro through XML and FCP 7 with its “send to” function. Either application works for me and most of my third-party plug-ins show up in each. Plus they both have a healthy set of their own built-in filters. When I’m done, simply export the mix (and/or stems) and import the track back into FCP X to marry it to the picture.
Final Cut Pro X has no media management function. You can copy/move/aggregate all of the media from a single Project (timeline) into a new Event, but these files are the source clips at full length. There is no ability to create a new project with trimmed or consolidated media. That’s when source files from a timeline are shortened to only include the portion that was cut into the sequence, plus user-defined “handles” (an extra few frames or seconds at the beginning and end of the clip). Trimmed, media-managed projects are often required when sending your edited sequence to an outside color correction facility. It’s also a great way to archive the “unflattened” final sequence of your production, while still leaving some wiggle room for future trimming adjustments. The sequence is editable and you still have the ability to slip, slide or change cuts by a few frames.
I ran into this problem the other day, where I needed to take a production home for further work. It was a series of commercials cut in FCP X, from which I had recut four spots as director’s cuts. The edit was locked, but I wanted to finish the mix and grade at home. No problem, I thought. Simply duplicate the project with “used media”, create the new Event and “organize” (copies media into the new Event folder). I could live with the fact that the media was full length, but there was one rub. Since I had originally edited the series of commercials using Compound Clips for selected takes, the duping process brought over all of these Compounds – even though none was actually used in the edit of the four director’s cuts. This would have resulted in copying nearly two-thirds of the total source media. I could not remove the Compounds from the copied Event, without also removing them from the original, which I didn’t want to do.
The solution was to send the sequence of four spots to FCP 7 and then media manage that timeline into a trimmed project. The difference was 12GB of trimmed source clips instead of HUNDREDS of GB. At home, I then sent the audio to Soundtrack Pro for a mix and the picture back to FCP X for color correction. Connect the mix back to the primary storyline in FCP X and call it done!
I realize that some of this may sound a bit complex to some readers, but professional workflows are all about having a good toolkit and knowing how to use it. FCP X is a great tool for productions that can work within its walls, but if you still own Final Cut Studio, there are a lot more options at your disposal. Why not continue to use them?
©2013 Oliver Peters
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