5 Replies Latest reply on Jun 8, 2010 6:39 PM by Colin Brougham

    Question about XMP metadata and FCP

    pmasters8941 Level 1

      There are still a couple features that I like FCP for (smoothcam, prefer FCP CC interface over PPro, and Color 1.5). I am trying to wrap my head around how to make use of both programs in my workflow and it dawned on that I could potentially lose any metadata work I do while inside FCP.

       

      So here is my question. What is the recommended workflow with the idea of keeping my metdata intact? Considering I am working with AVCCAM (AVCHD) material and that FCP will need to render out any projects started in PPro, is it better to start my project in FCP, make my edits, CC, Color, ADR with Soundtrack Pro, and then export XML to PPro, then adding any necessaary metadata or is there a better solution?

       

      The overall goal that I would like in my workflow is to be able to use Story for script, Onlocation with metadata entered, to Premiere for the rough cut, out to FCP (Smoothcam, CC, Color, Motion, STP), back to PPro for Dynamic Links. Since FCP does not support XMP metadata, any chance I lose metadata with any edits inside FCP or will have to re-add (i.e. after smoothcamming and then exporting for some shots)?

       

      I have tried and tried to like PPro's CC feature but I just find the layout of FCP's to work better for me plus the lack of ADR in Soundbooth makes me still rely on STP as well as Smoothcam.

       

      So let's hear your ideas for the best workflow for FCP/PPro with the idea of keeping metadata intact.

       

      Thanks.

        • 1. Re: Question about XMP metadata and FCP
          shooternz Level 6

          My idea for "best workflow" would be to eliminate the overwhelming number of complicated steps you are considering.

          .

          Work with one or the other as per your project needs.

           

          KISS

          • 2. Re: Question about XMP metadata and FCP
            pmasters8941 Level 1

            I agree KISS is the best approach but I just feel like Adobe has met most of my editing needs, just not all that I mentioned above. The biggest problem I see is even if I do all my edits in PPro, once I go to FCP for grading in Color 1.5, I am certain to lose all of my metadata since Color renders new files into a new sequence. I can always Smoothcam my clips before I bring them into PPro if need be. I just wish PPro used the same layout for their CC like FCP.

             

            Thanks for the input my friend.

            • 3. Re: Question about XMP metadata and FCP
              shooternz Level 6

              A lot of FCP workflows use intermediates where as PPRO works natively with most professional file types (including RED)

               

              I never liked the way FCP used Motion and Color as separate apps.

               

              Maybe you should take a look at some of the CC plugins for PPRO.

               

              Whats smoothcam?

              • 4. Re: Question about XMP metadata and FCP
                pmasters8941 Level 1

                Smoothcam removes camera shake.

                 

                I guess my best solution would be to remove FCP from my workflow altogether and maybe that way, I force myself to get more used to PPro's CC tools. Lettng go of Color's grading will be really hard though because Color 1.5 can do some really amazing things.

                • 5. Re: Question about XMP metadata and FCP
                  Colin Brougham Level 6

                  I'm with Craig on this one--too many layers of abstraction to devise a sane workflow. It's certainly not uncommon to start on one platform and finish on another--I'm beginning a massive endeavor involving capture in FCP, processing in PPro CS5 for Mac, and finishing in PPro CS5 for Windows--but trying to ping-pong is just a recipe for disappointment.

                   

                  I think you could certainly find suitable plugins that would more or less replicate the FCP workflow you're accustomed to. For CC, check out Red Giant Magic Bullet Colorista, or perhaps Synthetic Aperature Color Finesse (3.0 is available in AE CS5 now, should be available separately soon). There are motion stabilization plugins too, like Magic Bullet Steady, and I suppose eventually ProDad Mercalli will be available.

                   

                  I guess that the point is, if the metadata is important to you (which it sounds like it is), you'll want to stick with one platform. While media files may be interchangeable, data about them isn't--seem a little silly, no?