Color Correction Using Proxy Media

If you color correct using the Proxy Media settings, are the changes you've made still going to be applied to the video when you switch back over to "Original Media?"

Yes.

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How can I set which projects use Proxy Media and not just change every project?

Hi there
I can see how to change ALL projects to use Proxy Media or Original/Optimised Media
in
Preferences>Playback
But I'm switching between projects a lot and I only want to use Proxy Media on one project, so how can I tell FCPX to only use Proxy Media on that ONE project?
Thanks

Perhaps if apple didn't take back prores LT this wouldn't be as much of an issue.
Pores LT was a great compromise between file size and quality. It produced a fine image for most peoples needs and was 30% smaller.
Hopefully it will be returned soon. I can't imagine why it's not already there. Unless they want to charge for it, ... again..
Have you tried capturing as full res, then change prefs back to proxy, open a new project and import the full res files?
In FCP7 the render pref was separate from the capture pref. is that gone too?
If my idea doesn't work, Surely someone will chime in with a creative work around to this.
And hopefully it'll get fixed soon in an update.
Best,
g

Why can't I use proxy media?

I've got media from 3 cameras - all are 720x480. Two were imported from camcorrders, one was miniDV and one was JVC hard drive (SD). When importing I did not have the option to create proxy media, and still do not have that option available (it is grayed out). The third was imported from an avi file uncompressed; it created proxy media when importing. I am trying to use them in a multi-cam clip. If I use proxy media, the two clips from the cameras show the red/yellow "Missing proxy" screen but the avi file shows fine. If I select "use original or optimized media" the clip from avi drops frames, either with "better performance" or "high quality" settings. I know I've had it playing back OK before, but don't know what I have changed such that I can't get a good playback in the multicam multi-angle viewer. It seems if the camera video is already coded so it doesn't need proxy media, it should use that format when proxy is selected (I'll make that suggestion on the feedback from). Any help would be appreciated.

The problem is AVI is not a native format to FCPX while DV is. And FCP X will not make DV into Proxy for this reason. So if you want to mix AVI with DV you need to do it in 'original' mode. For better performance what you'd want to do is convert all of the AVI to a better format- like ProRes for example then import that as your new originals for mixing with the DV footage.

I'm using proxy media for a video I'm editing but now that i switch back to the original media some of my effects are missing can anyone help me.

I'm using proxy media for a video I'm editing but now that i switch back to the original media some of my effects are missing can anyone help me.

Shouldn't happen.Only thing I can think of suggesting is to delete render files and try again. Trashing preferences is a long shot, but no harm in trying. Use the Digital Rebellion Preference Manager, a free download.
Assume you have a reason for using such an outdated version of FCP X. That may be contributing to your problem.
Russ

HT203477 How Use Proxy Media ?

I chose when importing create proxy media
How Use Proxy Media ?

It's been moved to the Video Display Options – the disclosure triangle in the upper right of the Viewer.
Russ

Bad audio when using proxy media

I'm using FCPX on my MBP 15" late 2008. To get some reasonable speed I transcode all the clips to proxy media.
Doing this degrades audio quality to a point where the audio makes a clicking noise all the time.
Also when I add a sound effect and edit it in surround with keyframe animation the sound makes clicking noise all the time.
This noise is present when I export the movie.
What to do?

Trying that now
The odd thing is that the audio is fine when I play using optimized/original media. The audio gets crappy when I switch to proxy media.
I also get sort of the same problem when I'm using sound effects and choose "Create Space" or "Circle" under Audio inspector. These sound effects should be in the correct format since they came with FCPX.

Color correcting using gray card & FCP6?

with still photography, I can color correct rather quickly using a WhiBal card from http://www.rawworkflow.com/products/whibal/index.html .
Is it possible do perform some rudimentary correction using this with FCP6 - until I add the other pieces of equipment I'll need to do it properly.
I've got an Gretag Macbeth Eye-One monitor calibrator
http://www.rawworkflow.com/products/gmb/eye-one_display2.html
and I was hoping to limp along for a bit.
What would the workflow look like in FCP6 if this is possible?

Use your 3-way color corrector.
Click the eyedropper for the WHITES and select the white
Click the eyedropper for the MIDS and select a gray
Click the eyedropper for the BLACKS and select a black.
That will get you matched.
Good luck,
CaptM

Making sure FCPx uses proxy media during editing

I read the manual on this and it is vague, so . . .
The proxy media has been created (I've checked that the files actually exist.) How do I ensure that these files are being used when I setup my multicam clip?
How do I ensure that they are being used while editing?
Anything special to do while exporting the final product to ensure best quality?
I've gone through the project properties and nothing jumps out at me as requiring a change except perhaps the render format.

Rusty Rat wrote:
That was one of my concerns - how to ensure I didn't produce the final product from proxy media. I suppose though that the proxy makes a good choice for producing a 'draft' version.
Yes, you can export in proxy as a draft version.
Render Format is in the Project Properties > Audio and Render Properties > Render Format.
Thanks. I had never noticed that. ProRes 422 seems to be adequate in most cases. Not sure about speed. In fact, in most cases you may not need to render at all. I always keep "background rendering" turned off and only render a section of the video if playback is not smooth.

Creating/Using Proxy media files

Hello everyone. Apologies if this is painfully obvious - but just made the transition to FCPX and trying to wrap my head around some things-
I've imported video to a number of Libraries. (I really have to fight hard not to call them Projects)
As I didn't completely understanding all of the import settings, I made Optimized video along with the Original media. Ok, no big deal. The files take up a bit of space, and because of the nature of the project (lots of talking head interviews) not sure I really need Optimized video, but wasn't too concerned. I'll know for next time that I don't want to check that box, unless I really need the Optimized video.
My question is -
If I wanted to make a copy of my media files to a portable HD, work with these files off site with the same Library that is on my Macbook Pro, make logging notes, selects, maybe even creating a Project or two, and then return to my office where I would re-connect the original media files located on the office-bound hard drives, what do I need to do to ensure that this will work properly?
Secondarily, would it now make sense to create the Proxy files to use for this purpose? Is this not what these files are normally used for? Smaller, and more easily taken on the road and edited, and then the Library will re-connect everything to the original files once re-connected to the drives that contain the original media?
I am sure there must be a best practices, or right way to do this…I just don't know it.
As always, thanks for everyone's collective wisdom. (and for not shaming the dumb guy)

Before you import files change the media location to place outside library. (Select library go to inspector press modify settings, change media location)
Or, if files imported, consolidate files outside library. (Select library go to inspector, select outside location and press consolidate. All you media files move to selected folder.)
After this, change media location to inside library and generate proxy files.
Now you have original media outside library and proxy inside. Copy library to any location, edit in proxy.
And send project/library/event by XML (select target file->export XML, and file->import->XML)
also, you can delete generated files: select you library file->delete generated library files

What are the downsides to working with Proxy Media?

My iMac is one of the more powerful ones: i7, 2 internal drives (the main one is a 256 GB flash drive), ATI Radeon HD 5750 w/1 GB VRAM, 16 GB RAM. But I notice that when I'm trying to apply multiple effects to a compound clip and then use crop to zoom on it, it starts dropping frames all over the place and barely plowing through.
I'm wondering if I should edit with proxy media. I know one disadvantage is the amount of space it takes to have both proxy and regular media, but I have plenty of disk space. I edit AVCHD footage that I optimize upon import.
I will also be doing a lot of multicam editing.
So I'm thinking proxy media is the way to go. But I have to wonder what the disadvantages to using proxy media are. For instance, since you're editing with a lower-quality version of the video, does that mean that when you do things like color correction you aren't getting a good a final result when you switch back to the regular media?
I'd appreciate any advice/tips.

JDLee wrote:
.... you aren't getting a good a final result when you switch back to the regular media?
no, the color correction is done with the 'HDef' material.
proxies is just a pre-view thing; esp. when doing multicam, the amount of data shoveling from/to harddrive is enormously ... theoretically, even a fw800 connected super-fast Raid can handle only a max. of 10 HDef streams ...
I'm on consumer/hobbyist level - handling here 4 streams from usb-drives - as proxies, no problem.
when editing is done, you switch back to original/optimized and export in shiny 100% ...

My HD TV as NTSC Monitor for secondary color correction

Can I use my new Panasonic HD TV model TH-42PX80U as a NTSC monitor for secondary color correction using both Final Cut Pro out of a Macbook Pro intel? What cable I can use to conect via HDMI? Will the color acuracy will be similar to that of a NTSC color correction monitor? will my TV do a decent job for NTSC? THANK YOU FOR YOUR HELP!
I am not sure I have this HDMI cable to be use in my macbook pro does it comes with it?

Can I use my new Panasonic HD TV model TH-42PX80U as a NTSC monitor for secondary color correction using both Final Cut Pro out of a Macbook Pro intel?
Yes, but I would only trust it if you are going to be making DVDs, and ONLY if you properly set it up. I would not rely on it for broadcast color correction. The reason broadcast monitors exist is to have a standard...HDTVs don't have a standard. Go to best buy and look at all of them....none of them match. BUT, as a nice simple solution for DVD, I'd use it.
But the only way you are going to get a signal to it is with the Matrox MXO. It will do component to the monitor, or you can get a DVI to HDMI adapter...if you do that the MXO software will allow you to set the monitor up to color bars. That option is only available from of the DVI out of the box.
Will the color acuracy will be similar to that of a NTSC color correction monitor?
No...it would be similar to color correcting NTSC on your home television...because that it what it is.
will my TV do a decent job for NTSC?
I doubt it. Taking an SD image and blowing it up huge on this HD TV...scaled up. I wouldn't think so. I wouldn't use it for SD color correction.
I am not sure I have this HDMI cable to be use in my macbook pro does it comes with it?
You have a DVI port on your MacBook Pro. And they make DVI to HDMI cable adapters I'm sure.
http://library.creativecow.net/articles/ross_shane/MXO.php
Shane

Color correction problems with multiple monitors

I just upgraded my Win 7 from RC to RTM. I then updated my color correction using Gretag Macbeth i1 for both adapters. My system has 2 video cards and 3 monitors. Monitor 1 runs off adapter 1, monitors 2 & 3 run off adapter 2. Both video cards and all 3 monitors are of the same model. I set adapter/monitor 1 to the ICC profile 1, and adapter 2/monitor 2&3 to ICC profile 2 from Gretag. Not running LR, everything looks as expected.
When I run LR on the primary monitor green leaves turn orange, if I had to guess I would say I'm loosing the green information. If I move LR to display 2 or 3 the colors are as they should be.
I ran into this once before and it was something simple to fix this, but I can't seem to find it now. BTW, this worked just fine before the upgrade from RC to RTM.

At first I thought a reboot cured the problem, but apparently not.

Color Correction for DVD and online

I have a 13" SD TV hooked up to my mac working as a color correction monitor for FCE.
My question is: Should I always color correct using the TV monitor vs looking at the Canvas in FCE? What I'm seeing is the picture in the canvas is darker and more saturated then the view of the TV monitor. Is it best to trust the TV monitor vs the canvas? And should it make any difference if the final project is going to DVD vs online? I'm assuming the ending product (mov file) should look the same if the mov file is viewed from a computer vs on a TV from a DVD. In a nut shell, once the clip is color corrected using the ext monitor, should I be good to go no matter where the file ends up?
Thoughts?
Thanks so much

Hi
I would take some photos with color miss match eg blue tint (Blå-Stick in Swedish)
and with other known color anomalities.
Put them in TimeLine and playback. View TV - corrected or as bad as from start.
I use a color corrected CRT-broad-cast monitor but prior to this a small TV and
this one did a good job.
Yours Bengt W

Color correction with a HD TV

Can I use my new Panasonic HD TV model TH-42PX80U as a NTSC monitor for secondary color correction using both Final Cut Pro out of a Macbook Pro intel? What cable I can use to conect via HDMI? Will the color acuracy will be similar to that of a NTSC color correction monitor? will my TV do a decent job for NTSC? THANK YOU FOR YOUR HELP!
I am not sure I have this HDMI cable to be use in my macbook pro does it comes with it?

I have to go back to the avid because they work on avid: adding titles, outputting to digibeta and so on
FCP does all this..there are hundreds of editors and facilities doing this daily, on broadcast television shows. I have been doing this for over 2 years.
As far as I know, there is compression-decompression going to tape and back even in fcp, so there IS a little loss.
Where did you hear that? It is incorrect. Outputting via a capture card to digibeta results in no quality loss whatsoever.
If you have an "official" source of information saying otherwise, please do let us know.
I looked at the AJA website and Decklink website and neither of them say that they compress-decompress upon output. If footage is captured via firewire, there is no quality loss, as was done on the Avid...and similarly with FCP. If you capture with a capture card as a different codec, it will compress it into that codec, but depending on the codec, there is little loss, nothing you'd notice. But Avid does the same thing, capturing to a different codec will result in unnoticable loss in quality. Outputting DV to digibeta...there will be a conversion to the digibeta format, that is unavoidable...on AVID as well as FCP. But again, unnoticable.
Can you point to an "official" Avid site that says there is no compression-decompression upon output?
the broadcast safe filter doesnt cut illegal blacks, cuts off only the values that are too high.
Uhm...where did you hear that? It cuts off the top and bottom. Although I don't rely on this solely...I color correct each clip until it falls within range, then add the Broadcast Safe filter, just in case.
FCP handles adding titles and outputting to digibeta, but then you'd need to invest in a capture card. But, since you are in DV land, why not output to a DV tape and then they capture that DV tape...that is a lossless transfer?
Shane

Underwater Color Correction--D800 Video

I just came back from a dive trip to Cozumel and tried my new D800's video capabilities.
I'm happy to report that, with color correction in FCP, the D800 does a great job without a red filter or lights.
I didn't have much chance to experiment with this--too many other new things to try--but here's a quick preview.
This is an uncorrected frame shooting without lights, auto white balance and programed exposure and shutter speed in about 40 feet of water (sunny day topside):
I did a quick and dirty color correction using the three way color correction tool in FCP. Not surprisingly, the corrections added red:
The final looks great to me:
I also tested use of the Magic Filter for a few dives. I did not get better resuls, and worse, I had to do a lot of color correction on my stills to make them usable.
This may be of limited interest to those who don't dive, but I was really happy to see that I could dive and do both stills and video without a filter and still restore with FCP the reds, oranges and yellows lost below 15 or so feet.

For shallow water, auto level seems to work pretty well.
I used auto levels in Photoshop Elements 11 for most of these shots.
https://www.facebook.com/friends/requests/?ref=tn&fcref=ffb#!/roy.yumori/photos_albums
The manta ray is at 50 ft and is from a freeze frame from a video. There is almost no red. So it is too blue. I used auto levels in Premiere Pro CC and it was better than the original, but not great.

Color Correction Using Proxy Media

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