I have to stop and say THANK YOU for this!! I'm a relative newbie in this space, even though i've been working with Final Cut Pro for years lol I have been searching for a way to understand this for sooooo long. Not only did this educate me on proxy file management it also gave me a great tip on my FCP workflow as well. Thank you !!!
OH YES! THANK YOU. The second workflow (real proxies) is def. the best.. But yeah, I really had no idea how to use the in-camera generated proxies from my FX3.. now I can use the full power of this feature.
Oh my gosh. If only this had come out a month ago this would have saved me soooo much headache. Will definitely be using this from now on!! Thank you Mark as always!
Ripple Training once again having the easiest and most helpful FCPX tutorials on UA-cam. Have been learning for years and have no plans to stop. Thank you, Mark!
WOW! This was so wonderfully explained and detailed. I had no idea how to use the in camera proxies on my new FX6 camera. This saved me having to upgrade my computer! Thanks so much
Great video Mark! I use the relink all the time to swap between base-graded files from Resolve to actually graded clips down the road, but didn't realize you could do the same with proxies! This is huge, especially considering the 10 bit A7siii files aren't as buttery as other formats. I'm going to try this out with the camera generated proxies now. Love this tip!
Been editing with FCPX for 5 years and i always wondered what these proxies are for. Thank you! But i prefer going with the Option 1 as it saves time and space for me. Also my Macbook aint too strong so this is very good. Less stress for my macbook when editing small size proxies.
I almost never work with proxies because performance isn't usually an issue on my 2017 iMac, even with 4K 10bit media. Still, I really appreciate this explanation of various proxy workflows, and I can imagine some scenarios where I'd find it handy. FWIW, I almost didn't watch this one because I don't have a camera that can generate proxies... but I'm glad I did watch it!
Amazing, thank you so much for sharing. And the last step, the travel library with only proxy media is fantastic as well. Many many thanks for always making wonderful content.
Just to be exact I had been wondering for a while now, why you haven’t give a chance to one those Sony Cámaras, they are fantastic ‘cause I know you always been using your Panasonic! And you look way better with that cámara in your hands lol.
Mark, you can set the option in the camera to put just a counter and not a timecode. That should make the clips match. But, yes, there are some cons too.
My camera’s RAW file extension is different than that of its in-camera proxy. In your example, both end in .MP4, so it work well. But how can I link if the extensions are different?
This is so awesome! But maybe you or somebody else knows how to preserve original timecode while implementing this faux proxy technique? Maybe fiddling with XML files copied to the Faux Proxy folder before import..
What cameras other than Sony can do this process of generating proxies? This would work so well on my older laptop! Thanks for the video and keep up the GREAT FCP Education!!
Thanks for this video, Mark! I'm assuming this workflow also applies to multi-cam clips? So that after I've imported my proxies, created my multi-cam clips (3 - 4K Canons), assembled my edit using these proxies, the multi-cam will also be re-populated by the full-res files?
Great tip, love it. Does anyone know it FCP has a workaround for Panasonic GH7 in cases where the ProRes and RAW files are 17:9 and the proxies are 16:9. It seems odd to me that Panasonic support Apple ProRes Raw but not the proxy workflow on FCP. Am I missing something?
The challenge I've had in the past is that batch relinking, in either scenario faux or real proxy workflow, doesn't work in either case for Canon cameras, because the filename extensions are different. In this Sony example it works because the originals and proxies are both .mp4 filename extensions. With Canon, you either record raw .CRM or XF-AVC .MXF files, then have options for proxies to record MXF or .mp4. Only MXF will truly work because it retains all audio channels (usually 4 channels), where mp4 proxies convert audio to stereo. So the audio structures won't match and validate relinking in FCP. If you use MXF, it works, but you have to individually select each file in the relink panel. It won't auto-recognize the folder. For a day of documentary shooting with 100+ clips per day, it's mostly a no-go.
UPDATE: I actually played around a bit more, and when relinking, it will successfully relink if you click 'ALL' instead of 'MISSING', however when you go to View Proxy Media in Finder, it points to the source raw clips. When I test this discrepancy and take raw clips offline (remove from their folder), the proxies go offline. so it seems there's still some issues with it.
@@markspencer3104 That’s interesting. So is it misleading when you write click and choose reveal proxies in finder? I don’t recall it being the case with other projects where the proxies were generated by a final cut. It points to those proxies. Or am I mistaken?
@@chrissinclair2519 My bad - if I choose Reveal Proxy Media in Finder (instead of Reveal Media in Finder just above it), I'm taken to the correct proxy media clip in the proxy media folder.
I'm also currently battling with a proxy workflow with Canon c70 RAW Light and camera-generated proxies - such a pain in the neck, I don't think I can figure out a way to do it inside FCP apart from relinking each clip individually.
Since you asked... my workflow is that I never ever work with proxies. Never have and never plan to. I've never needed them. In the rare case I get something that's been encoded on a Windows PC that doesn't play buttery smooth, I'll just generate optimized media, but that's pretty rare. I think proxies are for people who work on lesser devices like laptops. I do all my work on a desktop. If I'm away from my desk I want to be doing something else other than editing. Hey... you asked! :)
What are the downsides of recording the proxies in camera? Have you found any extra battery or camera performance drain? Is it just taking up that extra data and that's the only downside?
Hey there, just wondering: If I use the faux proxy workflow do I need to also have an event with the original files in the library or can I only have the proxy and relink to the original files stored on my drive? I'm trying to save space on my drive (and in the FCP project) which is why I'm asking. For some reason the real proxy workflow will not work on my FCP (I've contacted support and it looks like its something that the engineers need to get involved with) so I cant do it that way. Thanks!
I just bought DJI Pocket 3 which generates proxies as LRFs. It is easy to change the extension but the FCPX doesn't link proxies with originals because the frame rate is different (I shoot originals in 60 fps, proxies are 30 fps). Any solutions?
Just tried this tuts, this came out "20 name matches were found, but 19 files are not compatible. Relinked files must have the same media type and similar audio channels as the original files, and must be long enough to cover all the clips that reference the files. Select a single item at a time to get information about why it is not compatible." Can anyone help me with this? :( I followed this tuts exact same way.
I tried Scenario two and I wasn't able to get it to work. Shot on EOS R5 and created 4K video files. I then in the compressor created ProRes Proxy files to import at a later date (Server is off site). I followed your instructions and when I select the files it won't allow me to import them. All video files are named exactly. Is it because the originals are .mp4 an the proxies are .mov? My goal was to avoid generating proxies in FCP to allow me to prepare media before reaching my work location.
@@rippleguys I was using postlab. Turns out after trying a few tricks I got a fix. Deleted generated library files and also did “Housekeeping” inside postlab. I’ve now cracked how to make proxies externally in Compressor to prep my editor in Final Cut 👏🏻
@@markspencer4557 Thank you, and I meant to add with my question that this video was just excellent. Just when I think I know everything, you always show me something I don't know.
Really hope someone can help me...I am halfway through a long edit using both a mix of the Sony a7siii in camera-generated proxies and the original media. Is there a way I can simply relink the proxies in the timeline already to the original? I have all the proxies and original files in separate folders, thanks!
But it still doesn't explain the workflow if i were to further bring this into a flame machine, a resolve machine. The XML would be a wreck as all the time codes starts at 0.00 =/ Went through a real headache trying to fix that in my previous project.
Your proxy-only library is only going to contain the clips already in the project, not the whole library. Would have been better easier to copy the whole library.
It's so god damn complicated, that it's better to disable in camera proxy creation and let FCPX do the proxy. Apple always think they can do better themselves
I'm an 84 year old "Newbie" - so excuse my naivety. I am shooting at 4K and creating creating proxy-files in a Sony Z190 video camera . I transfer from the camera to a Sandisk external HD and edit in FCPX from there . I cannot fathom a way of saving disk space on my editing external HD. I see from you excellent video and understand how to edit the Proxy files - but I cannot see how to relink to the original 4k files unless I save them to the same external HD that contain the original Proxy files - if that makes sense - and that does not save me disc space. I am trying to save disc space as well as speed up the edit . Your thoughts would be appreciated - please ? Hoping you can understand my narrative ?
John, you should be able to store your original files on a separate drive and still switch to them with the same process. You can also move your original files to another drive from within FCP by targeting the drive in the library inspector and then consolidating the media.
@@markspencer1203 Thank you very much - Apologies for the delay in replying ! I will work along the lines that you suggest. I've worked it out - at last ! When you get to my age - the old grey matter slowdown somewhat. Have been a broadcast cameraman for 30 plus years - but not done a lot of editing - now playing around with drones - and back on the "learning curve ' Thanks for your reply and advice !
Clear and concise, exactly what I was looking for. Thank you!
I love the tip at the end about creating a proxy only library for on the go! so good.
I have to stop and say THANK YOU for this!! I'm a relative newbie in this space, even though i've been working with Final Cut Pro for years lol I have been searching for a way to understand this for sooooo long. Not only did this educate me on proxy file management it also gave me a great tip on my FCP workflow as well. Thank you !!!
OH YES! THANK YOU. The second workflow (real proxies) is def. the best.. But yeah, I really had no idea how to use the in-camera generated proxies from my FX3.. now I can use the full power of this feature.
Thanks!
Oh my gosh. If only this had come out a month ago this would have saved me soooo much headache. Will definitely be using this from now on!! Thank you Mark as always!
you just made my life so much easier, thank you so much
This is what im looking for🔥
Ripple Training once again having the easiest and most helpful FCPX tutorials on UA-cam. Have been learning for years and have no plans to stop. Thank you, Mark!
This is great, thank you sir.
Great, that really helped. I have a workflow that needed this, thank you!
This is the best and most clear video I have seen regarding a7s3 proxy work flow! Thank you so much! Very helpful!
VERY useful. THANK YOU!
You all are so awesome! thanks again for an informative video!
BIG THANKS TO YOU!!
WOW! This was so wonderfully explained and detailed. I had no idea how to use the in camera proxies on my new FX6 camera. This saved me having to upgrade my computer! Thanks so much
Just got the A1. This was very helpful. Thank you!
Thank you! This was incredibly helpful before I dove into a rather daunting project!
great video. well explained & being put to use! thanks !
You are God-sent! thank you so much this is such a relief .
I have been looking how to do this on final cut omg thank you so much
Great video Mark! I use the relink all the time to swap between base-graded files from Resolve to actually graded clips down the road, but didn't realize you could do the same with proxies! This is huge, especially considering the 10 bit A7siii files aren't as buttery as other formats. I'm going to try this out with the camera generated proxies now. Love this tip!
Been editing with FCPX for 5 years and i always wondered what these proxies are for. Thank you! But i prefer going with the Option 1 as it saves time and space for me. Also my Macbook aint too strong so this is very good. Less stress for my macbook when editing small size proxies.
reaaaally nice tip!
Finally!!! Thank you for this 🙌
I almost never work with proxies because performance isn't usually an issue on my 2017 iMac, even with 4K 10bit media. Still, I really appreciate this explanation of various proxy workflows, and I can imagine some scenarios where I'd find it handy. FWIW, I almost didn't watch this one because I don't have a camera that can generate proxies... but I'm glad I did watch it!
Thanks. Subbed for the great info and details
Pure gold! Thanks a lot, you save me a lot of work Mark
This is genius, can’t wait to try in my next shoot!
WOW. THANKS FOR THIS TIP, YUR SAVE MY DAY!
Amazing, thank you so much for sharing. And the last step, the travel library with only proxy media is fantastic as well. Many many thanks for always making wonderful content.
This was so well explained!
Great video. Thank you.
Mark the GOAT
You covered it all, awesome video, thanks a lot
Thank you for this video!
Thank you for this explanatory video it's really very useful!
Thanks for the truly excellent tutorial
Simplest tutorial! Thanks a lot, will try this very soon
Great video tutorial. Helped me a lot. 👍😉😊
amazing!! very helpful ♥️
thanks Mark..
life saver!!!!!!
Intresting
extremely helpful!
I'm a slow learner so imma have to rewatch this over and over. I have a 2015 MacBook air and my next camera might be an a7siii or ev e1.
Thanks a lot =)
Just to be exact I had been wondering for a while now, why you haven’t give a chance to one those Sony Cámaras, they are fantastic ‘cause I know you always been using your Panasonic! And you look way better with that cámara in your hands lol.
Loved my Gh5s but sold it for the A7S III and new glass :-)
Mark, you can set the option in the camera to put just a counter and not a timecode. That should make the clips match. But, yes, there are some cons too.
Man this awesome.!
Fantastic, thanks for this!
Thanks. Very useful.
My camera’s RAW file extension is different than that of its in-camera proxy. In your example, both end in .MP4, so it work well. But how can I link if the extensions are different?
What camera are you using?
This is so awesome! But maybe you or somebody else knows how to preserve original timecode while implementing this faux proxy technique? Maybe fiddling with XML files copied to the Faux Proxy folder before import..
What cameras other than Sony can do this process of generating proxies? This would work so well on my older laptop! Thanks for the video and keep up the GREAT FCP Education!!
Canon C70 for one
Canons entire cinema line
And RED cameras
Another good one!
Very... helpful. Thank you so much.
Thanks for this video, Mark! I'm assuming this workflow also applies to multi-cam clips? So that after I've imported my proxies, created my multi-cam clips (3 - 4K Canons), assembled my edit using these proxies, the multi-cam will also be re-populated by the full-res files?
Great tip, love it. Does anyone know it FCP has a workaround for Panasonic GH7 in cases where the ProRes and RAW files are 17:9 and the proxies are 16:9. It seems odd to me that Panasonic support Apple ProRes Raw but not the proxy workflow on FCP. Am I missing something?
The challenge I've had in the past is that batch relinking, in either scenario faux or real proxy workflow, doesn't work in either case for Canon cameras, because the filename extensions are different. In this Sony example it works because the originals and proxies are both .mp4 filename extensions. With Canon, you either record raw .CRM or XF-AVC .MXF files, then have options for proxies to record MXF or .mp4. Only MXF will truly work because it retains all audio channels (usually 4 channels), where mp4 proxies convert audio to stereo. So the audio structures won't match and validate relinking in FCP. If you use MXF, it works, but you have to individually select each file in the relink panel. It won't auto-recognize the folder. For a day of documentary shooting with 100+ clips per day, it's mostly a no-go.
UPDATE: I actually played around a bit more, and when relinking, it will successfully relink if you click 'ALL' instead of 'MISSING', however when you go to View Proxy Media in Finder, it points to the source raw clips. When I test this discrepancy and take raw clips offline (remove from their folder), the proxies go offline. so it seems there's still some issues with it.
@@chrissinclair2519 Reveal in Finder always points to the original media even when done from proxies.
@@markspencer3104 That’s interesting. So is it misleading when you write click and choose reveal proxies in finder? I don’t recall it being the case with other projects where the proxies were generated by a final cut. It points to those proxies. Or am I mistaken?
@@chrissinclair2519 My bad - if I choose Reveal Proxy Media in Finder (instead of Reveal Media in Finder just above it), I'm taken to the correct proxy media clip in the proxy media folder.
I'm also currently battling with a proxy workflow with Canon c70 RAW Light and camera-generated proxies - such a pain in the neck, I don't think I can figure out a way to do it inside FCP apart from relinking each clip individually.
there is also a open source app called mediainfo to inspect the media type. been using it for year. love it.
Since you asked... my workflow is that I never ever work with proxies. Never have and never plan to. I've never needed them. In the rare case I get something that's been encoded on a Windows PC that doesn't play buttery smooth, I'll just generate optimized media, but that's pretty rare. I think proxies are for people who work on lesser devices like laptops. I do all my work on a desktop. If I'm away from my desk I want to be doing something else other than editing. Hey... you asked! :)
What are the downsides of recording the proxies in camera? Have you found any extra battery or camera performance drain? Is it just taking up that extra data and that's the only downside?
We're not aware of any performance or power drain.
Hey there, just wondering: If I use the faux proxy workflow do I need to also have an event with the original files in the library or can I only have the proxy and relink to the original files stored on my drive? I'm trying to save space on my drive (and in the FCP project) which is why I'm asking. For some reason the real proxy workflow will not work on my FCP (I've contacted support and it looks like its something that the engineers need to get involved with) so I cant do it that way. Thanks!
I just bought DJI Pocket 3 which generates proxies as LRFs. It is easy to change the extension but the FCPX doesn't link proxies with originals because the frame rate is different (I shoot originals in 60 fps, proxies are 30 fps). Any solutions?
No - proxies must match
Just tried this tuts, this came out "20 name matches were found, but 19 files are not compatible.
Relinked files must have the same media type and similar audio channels as the original files, and must be long enough to cover all the clips that reference the files.
Select a single item at a time to get information about why it is not compatible."
Can anyone help me with this? :( I followed this tuts exact same way.
I tried Scenario two and I wasn't able to get it to work.
Shot on EOS R5 and created 4K video files. I then in the compressor created ProRes Proxy files to import at a later date (Server is off site). I followed your instructions and when I select the files it won't allow me to import them. All video files are named exactly. Is it because the originals are .mp4 an the proxies are .mov? My goal was to avoid generating proxies in FCP to allow me to prepare media before reaching my work location.
try changing the extensions of all your .mov proxies to .mp4 and see if you can reconnect to them.
@@rippleguys I was using postlab. Turns out after trying a few tricks I got a fix. Deleted generated library files and also did “Housekeeping” inside postlab. I’ve now cracked how to make proxies externally in Compressor to prep my editor in Final Cut 👏🏻
What lens are you using with that A7?
That's the Sony 24-105 f4.
@@markspencer4557 Thank you, and I meant to add with my question that this video was just excellent. Just when I think I know everything, you always show me something I don't know.
@@mrdonsmith Thanks Don, much appreciated!
Really hope someone can help me...I am halfway through a long edit using both a mix of the Sony a7siii in camera-generated proxies and the original media. Is there a way I can simply relink the proxies in the timeline already to the original? I have all the proxies and original files in separate folders, thanks!
To add...My timeline is 1080p I shot in 4k. My timeline is a mix of the original and proxies with the additional 's0' in the file name
But it still doesn't explain the workflow if i were to further bring this into a flame machine, a resolve machine. The XML would be a wreck as all the time codes starts at 0.00 =/ Went through a real headache trying to fix that in my previous project.
Round-tripping from FCP to Resolve would work just fine.
Your proxy-only library is only going to contain the clips already in the project, not the whole library. Would have been better easier to copy the whole library.
It depends on what your goal is. I did explain that by copying the project, I was just including clips in the project.
It's so god damn complicated, that it's better to disable in camera proxy creation and let FCPX do the proxy. Apple always think they can do better themselves
i cant believe how bad the proxy workflow with final cut is. Both Premiere and Resolve do it right. This is so wrong. you need to rename your files
I'm an 84 year old "Newbie" - so excuse my naivety. I am shooting at 4K and creating creating proxy-files in a Sony Z190 video camera . I transfer from the camera to a Sandisk external HD and edit in FCPX from there . I cannot fathom a way of saving disk space on my editing external HD. I see from you excellent video and understand how to edit the Proxy files - but I cannot see how to relink to the original 4k files unless I save them to the same external HD that contain the original Proxy files - if that makes sense - and that does not save me disc space. I am trying to save disc space as well as speed up the edit . Your thoughts would be appreciated - please ? Hoping you can understand my narrative ?
John, you should be able to store your original files on a separate drive and still switch to them with the same process. You can also move your original files to another drive from within FCP by targeting the drive in the library inspector and then consolidating the media.
@@markspencer1203 Thank you very much - Apologies for the delay in replying ! I will work along the lines that you suggest. I've worked it out - at last ! When you get to my age - the old grey matter slowdown somewhat. Have been a broadcast cameraman for 30 plus years - but not done a lot of editing - now playing around with drones - and back on the "learning curve ' Thanks for your reply and advice !
Thanks!