There are three different types of video media used by Final Cut Pro X:
Camera native media can use a wide variety of codecs, though only one codec is allowed per media file. Codecs include:
And those are just some of the more popular varieties of the hundreds of codecs that are currently in the market. So, which media format should you use? And how can you tell which one FCP X is using? Answering that question is the purpose of this article.
SOME QUICK DEFINITIONS
Camera Native Files. The file format shot by your camera and captured to a card, hard disk or tape for editing. These files have four key parameters:
Of these four, the most important is the codec.
Codec. The mathematics used to convert light and sound into numbers the computer can store. Some codecs are optimized for small file sizes, others for image quality, still others for effects processing. Codecs are, generally, determined by the camera manufacturer and, essentially, determine file size, image quality, editing efficiency, color space and all the other elements that go into an image. It is impossible to overstate the importance of the video codec in video production and post.
NOTE: Codecs are also referred to as video formats, though that is a less precise term as “video formats” can also include elements outside the codec such as image size or frame rate.
Transcode. To convert media, either audio or video, from one format to another.
CHOOSE WHICH TO USE
While there are always exceptions to the rules, here’s what I’ve come up with:
While Final Cut does transcode all files in the background, which saves time, if all you are doing is cuts-only edits with a bit of B-roll, there’s no big advantage to optimizing, because FCP will render all camera native files as necessary during editing. While exports will take a bit longer than optimized media to allow time for rendering to occur for any files that need it, the time you lose in exporting will be saved in not waiting for optimizing to finish during importing. In other words, you only render the media you export, not all the media you import.
However, most camera native formats – specifically HDV, H.264, AVCHD, AVCCAM, and MPEG-4 – are very mathematically complex. As you start to add layers, effects, color adjustments, or fancy transitions, the amount of calculations your computer needs to process will slow things down. Optimizing converts your footage into something much easier to edit, with virtually no loss in visual quality.
Proxy files are extremely small and are a perfect fit for multicam editing, or working with large resolution files during the rough editing phase. Final Cut makes it easy to switch between proxy and camera source or optimized files for final polish and output. (As a sidelight, proxy files are 1/4 the resolution of the camera native file.)
NOTE: One other element to consider is your hardware. Proxy files will always be easier to edit than optimized files; this is especially true on older/slower systems. However, powerful machines like the new Mac Pro can handle multicam and high-res media without needing to create proxy files. Using a Mac Pro for these tasks can save both time and hard disk space.
TRANSCODING MEDIA
There are two places where you can transcode media:
NOTE: All transcoding happens in the background. When transcoding each file is complete, Final Cut automatically switches from camera native to optimized files.
The screen shot above illustrates your choices during import:
If you choose to import camera native files then convert some or all of your files after import, choose File > Transcode Media. The screen shot above illustrates your choices.
NOTE: If both camera native and optimized files exist for the same media, FCP X always uses optimized files in the project. When optimized files don’t exist, FCP X uses camera native files. Final Cut never uses proxy files unless you explicitly tell it to.
HOW TO TELL WHAT YOU ARE USING
For this article, I’ve imported a variety of codecs into Final Cut Pro X (v.10.1):
For example, this shot of a Great Blue Heron is H.264. (Um, I know that because I put it into the file name.)
But… what if you don’t know what the codec is?
Right-click (or Control-click if you are using a trackpad) on a column header in the List View of the Browser, then check Codecs to display a new column showing the codec for each clip. (Remember each clip only uses one codec.)
As you can see here, the file names accurately match the codecs. (I dragged the Codecs column header from the far right of the display to place it next to file names.)
NOTE: AAC is MPEG-4 compressed audio. Linear PCM is uncompressed audio; which generally means WAV format. The ProRes and Photo-JPEG clips are silent, which is why no audio file is listed.
The Inspector also provides a way to monitor codecs. Select a clip in the Browser and open the Inspector (Cmd+4)
At the bottom of the Info tab are three icons that indicate whether camera native, optimized or proxy files are present for that clip. In this case, only the camera native files exist, indicated by the green light next to “Original.”
Click the Settings button below these icons and change the Info display to Basic.
Near the top of the Info screen is listed the codec of the camera native clip. Here, for instance, the video codec is Photo-JPEG.
TRANSCODING MEDIA
I generally transcode all media during import. It is fast, easy, and doesn’t get in the way of my editing. However, if you need to transcode files later, select the files you want to transcode in the Browser and choose File > Transcode Media. (Media can not be transcoded from the Timeline.)
In this screen shot, Optimized is grayed out because the clip I selected was already in ProRes format. Other formats that generally don’t need optimization include:
NOTE: Both AVCHD and H.264 can be played back in real-time, but on slower systems, or more complex edits, will benefit from being optimized.
If both options are dark, it means that you have imported media that will benefit from optimization. (In general, you only need to create proxy files for multicam editing or media with resolutions above 1080p.)
The time transcoding takes is based upon the duration of your media, the speed of your processor and whether you are editing while the transcoding is going on.
For this example, I created both optimized and proxy files for all these clips.
You can monitor the status of transcoding, and other background tasks, by clicking the clock icon to the left of the timecode display. This opens the Background Tasks window (or type Cmd+9). Here, the clock indicates that transcoding is 100% complete.
While this is what the Background Tasks window looks like when it is transcoding a media file.
Notice that in the Codecs column of the Browser, the actual codec of the camera native file is still indicated; even though transcoded files exist.
NOTE: Optimized files are always ProRes 422, regardless of what choices you make for project render files.
If we go to Inspector > Info > Basic settings, although the codec is listed as Photo-JPEG at the top, the green light icons at the bottom indicate that additional media files now exist.
HERE’S THE RULES
If Optimized files do not exist, FCP X uses camera native files in your project.
If Optimized files do exist, FCP X uses optimized files in your project and ignores the camera native source files.
Proxy files are always ignored, until you change a preference setting.
Apple is very clever in tracking media files. Replacing an old file with a new file of the same name in FCP 7, would cause FCP 7 to link to the new file as though it was the old file.
However, replacing an old file with a new file of the same name in FCP X, disconnects all transcoded media and FCP X treats the new file as a brand new file. This is because Apple tracks more than just the file name in its media management. (Apple calls this tracking the “metadata” of the media file.)
SWITCHING BETWEEN OPTIMIZED AND PROXY FILES
Switching between optimized and proxy files could not be easier. In FCP X (10.1) go to the switch in the upper right corner of the Viewer and choose between Optimized/Original or Proxy files.
In earlier versions of FCP X, go to Preferences > Playback and click the appropriate radio button. (Apple moved both these preference settings to the Viewer switch in the 10.1 release.)
If proxy files exist, the images will instantly switch to proxies.
If proxy files do not exist, you get the dreaded “Missing Proxy” red screen.
Missing proxies can easily be fixed by selecting the media file in the Browser, choosing File > Transcode Media and checking the Proxy checkbox.
EXPORTING
When we export a master file, which is my general recommendation for all exports, the Settings tab gives us a number of options. (Here’s an article that talks about this more: Export a Master File.)
In general, you should set the render codec to the same setting as you plan to export. Then FCP can use the render files and just copy them when exporting. Otherwise, it will regenerate the render files from the source material during the export process, which will take longer. (Though on the new Mac Pro, this time difference may not be significant.) But if you know what your deliverable will be and you will always be creating a ProRes master, then rendering and exporting using the same ProRes setting is a best practice.
Selecting Source for output exports either proxy files, if the project is set to proxy files (as illustrated in the screen shot above)…
Or, if Optimized/Original is checked, selecting Source matches the render file settings in Project Properties (Cmd+J). In the screen shot above, I set render format to ProRes 422 LT, which becomes the output format.
Or, if you want to export a format other than the one you picked for Project Properties, you can choose between one of the five ProRes formats, as well as H.264 and two uncompressed formats.
I generally recommend against compressing H.264 using Final Cut, not because of any bugs, but because I like to create a master file first for archiving, then create compressed files from that master file. In other words, I create all my H.264 versions after the export is complete.
In general, while uncompressed files yield the highest possible quality, they also create the largest file sizes. As an example, I exported a 28-second 1080p 25 fps file.
THAT is quite a range in file sizes!
(Click here for a larger PNG version of this image.)
Could I see a quality difference between Proxy files and everything else? Yes, absolutely. Look at the hair, the artifacts in her skin, and the blockiness around the edges of her mouth.
However, could I see a difference between ProRes 4444 and Uncompressed 10-bit? Not for this 1080p image scaled to 1280 x 720, which is what I would post to the web.
Whether you need, or can even see, the additional image quality provided by these high-end formats is entirely up to you. If you are compressing files for the web, I would suggest you are wasting disk space; stay with ProRes 422. If you are creating files for digital projection to large screens, using high-end formats like ProRes 4444 or Uncompressed is critical, even though the file sizes are enormous.
NOTE: Final Cut does not export camera native media files.
UPDATE – EXPORTING CAMERA NATIVE FILES
After further exploring the Apple website, I learned the following:
However, these camera native exports are “wrapped” in QuickTime, so they are not “camera native,” but they are the same quality as the camera native formats.
There are also two export tools worth mentioning:
When you export using settings different from your render settings, Final Cut calculates the new files using the source media, not the existing render files.
Also, I would also not recommend using “Send to Compressor” unless you need to use a Compressor plug-in and even then I would save your project as a Master file and check the “When done” menu in the Share settings window to “Open with Compressor.” This exports the master file as quickly as possible, then opens it in Compressor where you have all the Compressor settings at your finger tips. If you need specific settings that are only in Compressor, then I would save that as a custom Compressor setting so that it shows up in Final Cut’s Share menu as a Destination.
SUMMARY
My strong recommendation is to set project render file settings to match the format you want to export as your final master file.
Final Cut does a great job of managing media. For most editing tasks, optimizing media is the best and fastest option. But, there are always situations that demand different solutions. And, now, you have a better idea what your options are.
151 Responses to FCP X: When to Use Optimized, Proxy, or Native Media
← Older Comments Newer Comments →-
Daniel says:
February 25, 2014 at 2:13 pm
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Larry Jordan says:
February 25, 2014 at 3:42 pm
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Daniel says:
February 25, 2014 at 4:04 pm
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Daniel says:
February 25, 2014 at 4:18 pm
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izwan says:
March 22, 2014 at 6:39 am
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Larry Jordan says:
March 22, 2014 at 10:56 am
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pedrogawdin says:
April 17, 2014 at 6:00 pm
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Anthony K says:
May 4, 2014 at 12:39 am
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Rick says:
May 4, 2014 at 6:00 am
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Larry Jordan says:
May 4, 2014 at 9:28 am
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Mark J. says:
May 12, 2014 at 10:36 am
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Larry Jordan says:
May 13, 2014 at 9:57 pm
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Brad Stoddard says:
May 12, 2014 at 12:24 pm
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Larry Jordan says:
May 12, 2014 at 12:48 pm
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Tulio says:
May 13, 2014 at 2:45 am
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Larry Jordan says:
May 13, 2014 at 9:41 am
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Tulio says:
May 14, 2014 at 2:16 am
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Kevin says:
August 12, 2014 at 6:05 pm
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Scott Lamoreaux says:
August 21, 2014 at 8:34 pm
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Larry Jordan says:
August 21, 2014 at 10:59 pm
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Scott Lamoreaux says:
August 21, 2014 at 11:52 pm
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Larry Jordan says:
August 22, 2014 at 9:42 am
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Scott says:
August 23, 2014 at 10:58 am
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Tulio says:
August 22, 2014 at 2:19 am
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Scott says:
August 22, 2014 at 8:41 am
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Tulio says:
August 25, 2014 at 11:53 pm
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Mary Lee Nolan says:
August 25, 2014 at 5:57 pm
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LarryJ says:
August 25, 2014 at 7:48 pm
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Mary Lee says:
August 25, 2014 at 8:29 pm
← Older Comments Newer Comments →Hello Larry,
I’ve been following your training since Lynda, you got me through DVD Studio Pro and I am forever grateful. I’ve been using FCP 7 up until a few weeks ago because of all that I’ve had to relearn. And I still have hurdles! I’ve been pointed to your website before for questions I’ve asked elsewhere, I figured I’d post directly to your site for this question.
I have no problem working with transcoded media. I copy my SDHC card (filled with AVCHD footage) to my computer before opening FCPX. When I import I choose to create optimized media.
QUESTIONS:
– Do I really need FCPX to copy the “Original Media”? It’s not actually original because it’s taken the MTS file and made into a Quicktime movie. and I’ll never use the Quicktime movie. I have my backup in my SDHC card. I’ll only ever work with the transcoded media. When I need to reimport, I do so via File> Import> Reimport From Camera/Archive…
– Can I tell FCP X to not make an “Original Media” copy of my imported files? Do I have to go into my Library every time and delete the files in the “Original Media” folder? Is that even safe to do, you’ve said repeatedly it’s bad to mess with the Library’s contents.
It just seems like a lot of unnecessary space used up. I really only want to see a “Transcoded Media” folder with one copy of each file I’ve imported.
Thank You!
Daniel
Daniel:
I haven’t personally tested this, but in thinking about it, but when you import, you should be able to leave your source files where they are, then check Optimize media to create the transcoded files.
This should do what you want it to do.
Larry
Hello,
Thank you for your quick response!
Unfortunately in the Import window options, “Leave files in place” is grayed out. Only “Copy Files Into:” is available. I’ve even made sure to uncheck all other boxes except “Create optimized media” and/or “Create proxy media.”
I checked in my Preferences and made sure that “Leave files in place” was selected, as that was not grayed out.
Keeping an eye on the process, FCPX brings in the original file in a flash and then begins transcoding, leaving the original file after it finished transcoding.
It’s very strange. I’m guessing it may have to do with the AVCHD file format, I just don’t know.
Update: Upon further investigation, it appears FCP X sees my folder as still being on the camera since I basically carbon copied the file structure from camera to computer. FCP X thinks it’s looking at a camera, not a cameras file on a computer.
FCP X therefor does what it always does when it thinks it’s looking at a camera card – it refuses to leave the original copy alone, and instead copies it into the Library before encoding.
This seems like a step backwards from FCP 7 which had no problem transcoding directly from the card structure into a ProRes movie in another folder location.
Welp, something to be hopeful for in 10.1.2?
PS: I don’t know where the avatars are coming from but they remind me of the Mr. Men/Little Miss characters.
Larry… i would like to know.. if i convert to proxy… when i export the edits… will the quality be the same as compared to when i convert to optimised
Izwan:
No. Proxy files are 1/4 the resolution of optimized media. Proxy is designed to create small files, for use in multicam editing and off-line media asset systems to allow you to get a sense of what the media looks like without taking a lot of space.
For best quality, use optimized media.
Larry
iDealshare VideoGo, the ideal Final Cut Pro Converter, can convert all kinds of video files like AVCHD, MTS, M2T, M2TS, MXF, MOD, TOD, R3D, XAVC, MPEG-2, MPEG-1, AVI, MP4, MOV, WMV, MKV, VOB and etc to import to Final Cut Pro X for editing.
HI MR Jordan,
Thanks so much for clarifying a few queries i currently had. I do howver have a few questions with regards to my work/export/size situation.
I capture media every day. I do underwater videography so everyday i need to edit a video then burn to DVD for my customers. My question is, i runout of space all the time. I am always deleting old media but i feel that it can be an issue however, i do not want to lose quality. I also need to save my best media for my show reels/ promo videos that i edit too.
Please could you advice me on how to keep high quality footage and save on HD space for customer DVDs and my original media that i will use for show reels later on in the year/promo videos too.
Also if i wish to sell my footage/ selected video clips, how should i export that footage?
I currently import just the original format but have clicked the optimised option which is a much larger file. I shoot with a canon S21 and use Go Pro(which is h264 unfortunately) as well.
Regards,
Anthony
For archiving media there is no reason to save the Optimized Media. Read the above on why you would want to use Optimized Media. So, keep the original media and delete Optimized Media.
If you are only importing, logging, and making DVDs, then you may not even need to generate Optimized Media. You can never get better quality than your original. Optimized media can be helpful for performance and editing effects.
Rick
Anthony:
Rick is correct – you don’t need to archive optimized media. However, when you need to do color grading or fast rendering, optimized media is MUCH better than camera native. For this reason, continue to optimize when you are importing for editing. Because underwater footage takes a LOT of color correction.
You might consider changing your storage. G-Technology just released new, expandable storage – http://www.g-technology.com/products/g-dock-ev-thunderbolt – that provides media fast enough to edit with, yet, whenever you need a new cartridge, just slide in a new one and archive the old one. This allows you to store complete libraries on the cartridge with the quality you need to sell later, yet not run out of room during the fast turn around of production.
Remember, too, that you can and should delete render files when the project is over. Here’s an article that explains how: http://www.larryjordan.biz/fcp-x-delete-render-files/
Hi Larry,
I see similar questions above, but I’m still not quite clear.
On import, I create both optimized and proxy files of my AVCHD footage. When editing, I set the drop-down menu in the Viewer to Media: Proxy.
If I do not change the Viewer setting when I export to YouTube from the Share menu, does FCP use the optimized files or the proxy files to create the .mov. I ask because, unlike the Master File process, the YouTube process doesn’t include an option to select a video codec.
Thanks much,
Mark
Mark:
Your preference setting determines your output format. I alway make sure, if I’m editing using proxy files, to change the preference to Original/Optimized before outputting my master file.
It may not be necessary, but this always makes me feel better.
Larry
Larry, Thanks for all your great work with FCPX. Hopefully you or one of your readers can help me understand using Optimized Media. I prefer optimizing media rather than editing in the EX1s, or H.264 format mainly because my MacPro is a bit old (2009).
Importing media and managing it externally (simlink) as opposed to FCPX importing it into the library is a great feature. However;
1. After optimizing on import, the inspector shows that the clips are still (H.264) even though the green optimized indicator is lit.
2. Selecting “reveal in finder” option selects the original, in this case, H.264 file using either the inspector or event browser.
3. Looking into the library package reveals that the optimized files are now inside the Library> Event>Transcode Media>High Quality Media folder.
My question(s)
How can I actually see and know that the file I am editing in the timeline is connected to the optimized media?
How can I keep the optimized media external to the library?
Many thanks!
Brad:
Here’s an article that explains what you are editing – the secret is the green light.
http://www.larryjordan.biz/fcp-x-know-what-youre-editing/
And, after optimizing, you would need to manually move the optimized media to an external folder, then relink to the media.
Larry
Strange , I have some mp4 files that I cannot optmize. I select the clip on the browser and go file> transcode media, but Optimized is grayed out.
Tulio:
Not all files need optimization; including some MPEG-4 files. If a file is already optimized (meaning each individual frame can be separately accessed because it is compressed in a format using all “i” frames) then the optimization option will be grayed out.
Larry
Thanks, the problem was deeper than that, I was trying to convert the FCPX project to ProTools AAF using FCPX2ProTools plugin, but failing. I found out that FCPX was optmizing those MP4 (h264) files to ProRes422 but keeping the original audio sample rate of 44.1Khz rather than the project’s 48Khz.
IT is really annoying one cannot customize the Optmizing ( and proxy ) settings inside FCPX.
so I had to convert the files using MPEG streamclip and re-link.
Is there a hack or am I missing something.
Where can I add suggestions at Apple?
Best regards.
Hi
I’m currently noticing that when I import AVCHD files into Final Cut Pro 10.1.2 I’m getting popping artifacts in the audio – as if the sampling rate of the project is wrong, and yet I’ve checked the project and the audio files and they are both 48 kHz. These pops are there regardless if I’m editing native, optimized or proxy and also appear in the exported clip – yet they are not there in the original. Any ideas anyone?
Thanks
Kevin
Great Tutorial. I’m new to video and just picked up the A7S which I’m shooting Slog2 clips and trying to do my all my color correcting/grading + editing in FCPx. My issue is Im not sure how I should be conducting my workflow as my machine gets SUPER slow and keeps rendering in the background after I start applying Neat Video NR, color corrections and LUTS to files. I know I just make my rough cut first but once I start applying LUTS and color grading to multiple clips and try to playback, everything slows down significantly. How can I do this so I’m not held up? Also to maintain the highest quality, which file format should I be exporting? Apple Prores 422 (HQ)?
Thank you!
Scott:
Neat video is very compute intensive. Change your workflow.
DON’T apply any filters, LUTS, or color grades until after the rough cut is complete. Concentrate first on telling your story. Once you have your edit essentially done, make an effects pass to add filters, color correction and other niceties.
This way, you can edit full speed ahead, without all your effects slowing you down. (This is, by the way, a traditional Hollywood way of editing – rough cut, effects cut, then final color grade.)
Larry
Thanks for the quick reply Larry. I’ll try that out. Should I also be editing with proxies then switching to original prior to final share/render?
I read somewhere neat video should be applied prior to any LUT or color grade. Is this true?
Lastly when you do your effects, grade pass, do you just start with the first clip, apply a LUT, Neat video (if needed), adjust color then copy/paste to the other clips and adjust each accordingly?
Thanks again,
Scott
Scott:
I would apply Neat as the second last step in FCP – after the editing is complete. And, yes, Copy / Paste Attributes is a very efficient way to work.
Then, export an XML file and color grade in Resolve – assuming you have the time to learn the program, your results will be worth the work.
Finally, bring the final color graded files back into FCP X for final output with finished audio.
Larry
Thanks Larry,
One more question then I will stop bugging you =) —
So let me see if I have this straight.
Import files from SD card to FCP
Work with Proxies
Compile First Cut
Apply Neat Video to Noisy clips
Export as XML file (as individual clips not a single clip correct?)’
Import into Resolve
Color grade in resolve (what file format do I export as?)
Import back into FCP and apply final audio…
What if all my LUTs are in FCP only?
Thank you!!!
To add to Larry’s advice, I’d do all the editing in FCPX and then send to Resolve Lite for proper color grading.
For less demanding taks the RT color Balance is a great filter:
http://www.rippletraining.com/using-the-rt-color-balance-effect.html
Tulio
Hi Tulio,
Thanks for the imput as well. So you do your “first cut” in FCPX then export as separate files? Then open in Resolve to color grade? Then you go back to FCPx to final render?
All my LUT and Neat Video are in FCPx so I’m wondering how I would accomplish this.
You export the FCPX project as XML and them open the XML in Resolve, simple.
I have been using FCP7 for years in order to create photo jpeg stock footage clips. I’ve been trying to use FCPX for the same purpose, although it is much slower to work with than FCP7 due to lack of a batch processing feature. Is there any way to output photojpeg clips. I don’t see it as an option. Any suggestions?
Mary Lee:
For a faster workflow, I would output from FCP X as a Master File, then use other software, such as Sorenson Squeeze, to convert to PhotoJPEG.
Larry
Thanks. Basically, thats what I have been doing only using MPEG Streamclip rather than Soreson Squeeze. It still does not compare with the workflow allowed by FCP7 so I’ll try to nurse my old workhorse along for a while longer. Meanwhile, I’ll try to figure out how to make clips using After Effects as a possible alternative.