Note: I want to explain how our current workflow for editing remotely. I am always testing new tools and methods, so workflows change all the time. This is a snapshot in time of what we are trying now. So far it works.
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).
Why use Hedge? A nice simple app which hides its complexity well. 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. It verifies, and double checks its work and leaves receipts. What was copied when. This is very nice and very useful for troubleshooting. 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.
Kyno and Postlab
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). Testing with other tools is always ongoing and during a recent test of the workflow we also tried EditReady from Divergent Media.
The Workflow (so far)
While we are exploring various workflow automations we are currently doing the following steps manually.
- Hedge to copy camera cards two external drives on set, and then Hedge copy the drive to Xsan
- Making re-wrapped in MOV files from the original camera MXF files using Kyno and then
- Making H264 MOV 4K proxies in Kyno
- Uploading finished proxies to Postlab drive using Hedge
- Set up FCPX production and new FCPX library from template connected to proxies in Postlab drive
Hedge and Postlab
Hedge is super useful. Two times good. Hedge and Postlab are best friends. And the UI on both shows the simple aesthetic shared by the developers. Three panes. Source / Start to Destination / Projects. Whether you are copying Proxies to Postlab Drive or accessing your editing projects in Postlab the apps will guide you through.
Details. Rewrap and Proxies
Workflows will depend on your goals, and your available tools. In this case we are using a Canon camera and ingesting MXF files. 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.
Originals. Not Proxies.
And to be clear we are treating these in FCPX as “new” originals not as actual FCPX proxies. With the rewrapped MOV files we make transcoded H264 files which are swapped 1 for 1 with the original. When we need to export a final 4K version we can relink to the original 4K source and export easily.
Proxies. Not originals
The transocded H264 4K proxies we made in Kyno were 15x smaller than the original re-wrapped Mov files. We had almost 600GB in originals and 37GB for the 4K H264 proxies!!
Postlab Pro Tips
Working with Postlab pro tip #1 –> keep those FCPX libraries light. Keep all media and cache files out of the library. 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. Now we are trying to work around this habit with Postlab itself. You can check in a version of the library and duplicate library for an alternate version. Modifications of old habits are always tough but technical reasons may force a change in habits here. We will see. Postlab pro tip #2 –> Keep your cache large and fast. By default the Postlab cache is your local drive and only 20GB. If you have a fast SSD or an external drive then move that cache and increase the size. It will help. Trust me.
Kyno vs EditReady
Another small issue we encountered in testing was that we could make the rewrapped Mov files in Kyno or in EditReady and both were fine. 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. The EditReady files kept the original names but they were all in one folder. As the tech I see no issue with FCPX handling these files since we’d be ingesting all the finished proxy files and all the files were named by the camera. Editors should be able to tell which reel the clips were from by the clip name and that’s all you need technically, but you can’t win every argument with an editor. As the tech you need to test alternative tools and methods and see what works technically but also see what can be accepted to work in the way the editors want to work. Changes to workflow are some of the hardest to make, making a system that is used, actually used, by the editors is the goal.
Errors. If you get them, how do you know? This was one area where I could comment on both Kyno and EditReady. I am spoiled by Hedge and it’s nice reports when it is done copying. And Postlab which has a Help menu :collect logs for support button, very nice. If your software tool is going to process a lot of files (rewrapping then transcoding) I want to know if there were errors. EditReady popped up a window to what had succeeded or failed and Divergent Media support told me to look in the logs for any issues encountered. Not great. While Kyno has a separate jobs window which shows jobs done or failed. But still no report. I would like a receipt or report or log at the end with files converted or failed to convert. It would help troubleshooting any issues when they arise. Tech support for both companies is great and responsive. Thanks again. And I’ll keep sending in feature requests.
Testing. More Testing. And Teamwork.
We are testing this workflow in production with a real project and getting feedback from the team. So far the proxies have proven to be easy to make, quick to upload to Postlab drive, simple to use in FCPX in Postlab. Assembling the cut and editing are going well. We will find out about the colour process when we get to that stage and relink to the originals. Stay tuned.
Thanks to Felipe Baez / cr8ivebeast for his assistance on this part of the workflow. We were having trouble relinking to the original MXF and he gave us the excellent tip to rewrap then in Kyno then make the smaller proxies. Works like a charm. Thank you Felipe! Here’s a link to a video Felipe made showing a similar procedure using Compressor to transcode and then relink in FCPX and it goes to show you that there are lot of ways to do things and to keep trying, and experimenting. You might learn a thing or two.