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
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Juan Manuel says:
August 28, 2014 at 4:10 pm
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LarryJ says:
August 28, 2014 at 7:46 pm
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melissa lancaster says:
September 11, 2014 at 10:20 am
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Larry Jordan says:
September 11, 2014 at 10:27 am
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Romain Boileux says:
September 16, 2014 at 3:59 pm
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LarryJ says:
September 16, 2014 at 4:37 pm
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Romain Boileux says:
September 16, 2014 at 5:17 pm
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LarryJ says:
September 16, 2014 at 5:41 pm
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Arthur says:
September 28, 2014 at 7:02 pm
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LarryJ says:
September 28, 2014 at 7:17 pm
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Arthur says:
September 28, 2014 at 7:32 pm
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LarryJ says:
September 28, 2014 at 7:54 pm
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Chris says:
October 1, 2014 at 2:05 pm
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LarryJ says:
October 1, 2014 at 9:51 pm
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Scott says:
October 1, 2014 at 2:33 pm
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LarryJ says:
October 5, 2014 at 7:15 pm
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Michael says:
October 4, 2014 at 6:29 am
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LarryJ says:
October 5, 2014 at 3:34 pm
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Michael says:
October 7, 2014 at 3:04 am
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CJ Mills says:
October 7, 2014 at 9:43 am
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LarryJ says:
October 7, 2014 at 10:29 am
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FCPX poczatki says:
October 14, 2014 at 12:39 am
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Gregory Leno says:
October 15, 2014 at 9:08 pm
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LarryJ says:
October 15, 2014 at 9:25 pm
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Dan Katz says:
October 17, 2014 at 11:35 pm
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LarryJ says:
October 19, 2014 at 9:33 am
← Older Comments Newer Comments →HI Larry
Im making a animation video. First i did some animation on After Effects and then I put them all on my FCPX timeline.
I used the compression h264 for an easier sharing between AfterEffect to FCPX.
THe project is finished (cut, retime, sound, etc), but now I want to replace all the Videos that i used in the time line that are in h264 with the originals files that are on ProRes.
How do i do that?
Thank You Verry much for your help.
Ouch!
Juan, this won’t be easy. It would have been MUCH better to export your master files from After Effects then use FCP X to create proxy files.
Now, you’ll need to import each original file and manual sync it with the H.264 files on the timeline.
There’s no easy way to do this – except manual, one shot at a time, to make sure they are properly synced.
Larry
Hey Larry
I LOVE your website and tutorials. Thanks so much! I’m having an issue while trying to use my transcoded media instead of the H.264 files. I imported with create optimized media and with create proxy media as I have many times in the new FCPX 10.1.3
however I cannot find the little light switch anywhere that lets me toggle between editing with the Optimized media and the proxy media. It has always been there before but I can not find it at all. Is there something I did or an option I unchecked that made it disappear? Ever had this happen before?
Melissa:
Thanks for the kind words…!
The switch is in the top right corner of the Viewer. If, for any reason it isn’t there, trash your FCP X preferences by quitting FCP, then press and hold Option + Command while relaunching the application from the dock.
Larry
Hi Larry,
Thank you so much for your help and experience. It’s really nice reading you !
I’m french so don’t be surprised if my english doesn’t sound well …
I’m a bit confused with the PROXY/ORIGINAL and OPTIMIZED tool in final cut pro X.
I’ve been editing my film in Final Cut Pro X using the PROXY settings.
Once I’ve been satisfied with my editing I’ve decided to switch all the footage I used and the sequence in “OPTIMIZED” media.
I’d like to use DA VINCI RESOLVE 11.1 for the color grading so I’ve exported a XML list and started working on the color grading in it.
When I check my footage in the MEDIA TOOL, it says H264 ..
I don’t want to work on my H264 footage but on the 422 version. I don’t get it .. How am I supposed to do ?
Thanks a lot for your help !
Cheers,
Romain
Romain:
See if this article helps:
http://www.larryjordan.biz/fcp-x-know-what-youre-editing/
Larry
Thx for your quick reply Larry 🙂
I knew this article, it helped me before starting to edit.
I’ve got 3 green lights (proxy,original and optimized) for each footage on my timeline, so I guess it uses the optimized footage (ProRes 422) but I still don’t know why I’ve got the original footage (H264) in my media tool in Da Vinci Resolve considering I’ve made a XML with a ProRes sequence … and there is no option in the XML export.
Do you think I should move manually the H264 files to an other folder, so I guess there is no choice for FCPX when I do a XML export ?
Thanks again !
Romain:
I am VERY reluctant to recommend moving media outside the control of FCP X – there’s too much likelihood something will break.
If you have optimized media, FCP X should export (via XML) the optimized media for Resolve. If not, contact the folks at Resolve, who will know the answer.
Larry
Hi Larry,
Thanks a lot for your help.
However, I still have a few questions. I am sorry if the message seems confusing but the thing is I am very confused…
(I’m french too so sorry if I’m not clear at some point)
Just so you know, at the moment I am trying to make my first real big documentary (about Australia). So I have thousands of clips (landscape, animals, people, interviews…) and I won’t know the story until the end so I need all the footage to be in the same library.
This is how I normally proceed to import my media :
BEFORE I GOT my new macbook pro with OSX
– Everytime the SD card was full I created a new folder and put all the MTS file in it. (I call it “Australia1.MTS” for instance) (I know now this was a mistake)
– Then I create an other folder (“Australia1.ProRes”) and put all the MTS files converted in Prores with Clipwrap.
– Then I export all the ProRes in FCP X and create Proxy Media at the same time
NOW that I got the new macbook pro OSX who don’t really show straight away the MTS in the AVCHD folder I’m a bit lost and I realised it is not good to split the AVCHD folder structure.
– I would like to just create a new folder for every SD card as I was doing before but keeping the AVCHD folder as it is.
– However, I don’t understand how I can give unique names to all the clips as they are all in one folder. My concern is to reconnect them later if something bad happen. Because if I import straight to FCP X they arrive call as clip#1 clip#2 ect. so for every SD card all clip will have the same name and I will end up having many Clip#1which worries me if i need to reconnect at one point… I could rename them on FCPX but they won’t have the same name coming out the AVCHD folder…
– I am also wondering if for these type of big project it is better to only use original media from the camera, or optimised (prores) or original and proxy … I just bought an hard drive of 4To and after all my MTS converted in Prores plus the proxy media it is already almost full…
I have 400Go of Proxy media in the library, do you think they are important if all my media imported in FCP are Prores ?
I hope I am quite clear.
Thanks for your time Larry.
Cheers.
Arthur.
Arthur:
Just to be clear to everyone else reading – DO NOT SPLIT the files or folders in the AVCHD folder. Leave the folder structure intact. This will save a LOT of grief. Instead, create a new folder on your hard disk for each card and copy the entire contents of the card – folders, files and all – into that hard disk folder. Give each folder a unique name.
Then, when you import media into FCP X, it will automatically handle creating optimized and proxy files, along with preventing duplicate file names.
Arthur, since it is too late to do this in the case of your project, we need to do this manually.
That being said, FCP X Libraries have a limit of around 3,000 clips. This means that if you have lots and lots of clips, you will probably need more than one library. (FCP 7, by comparison, ran out of space around 2,000 clips in a project.) Libraries are not infinite in size, so you need to start thinking about the best way to organize your media.
There’s no benefit to creating proxy media if you already have optimized media. I would trash all proxy files.
If you are “creating a new folder for every SD card,” which is a good idea, I don’t understand why you are putting “all the clips as they are all in one folder.” Unless you rename all your clips, you should keep them in separate folders.
In general, I recommend keeping the camera native media in their AVCHD format, stored in folders on your hard disk – one folder per camera card.
Then, have FCP X create optimized media from that AVCHD media to edit. Only create proxy media when doing multicam or 4K editing.
Larry
Wahou, Larry, i am very impressed of the rapidity of your response and the quality of if.
It helps a lot thanks.
Few more questions :
– You say :
“Arthur, since it is too late to do this in the case of your project, we need to do this manually.”
Sorry but what do you mean but that ?
– I normally import my clips folder per folder in FCP X and I organise them in 4 different ways with the key words :
1. Per folder name so for example Australia1, Australia 2… I am at Australia 36 so far…
2. Per kind of clip : people, adventure, interviews, landscape, city, music…
3. Per places : Perth, Trip Perth to Melbourne, Melbourne, Tasmania…
4. Only the interviews : Peter, Alice, Marco…
Do you think this is a good way to organise my files ?
– And just one more question to be sure :
Is there really no point of converting the AVCHD folder to Prores with Clipwrap and then import to FCP x more than import straight away and create optimised media ?
I also sometime delete some clips that I don’t need anymore with the “reveal in finder” which can save me lot of space on the hard drive. Will that be as easy with the optimised media thing ?
Anyways. Thanks again for your help.
Have a great day.
Cheers.
Arthur.
Arthur:
Generally, with AVCHD materials, there is no reason to convert them prior to importing into FCP X; and several reasons not to. File organization and naming being the two that come first to mind. Let FCP X do it for you.
You can still use “Reveal in Finder” to find clips that you want to delete.
And, your organizational system makes sense to me.
Larry
Larry,
Thanks for your excellent service and ongoing support that you provide for FCP X.
I have a question about importing files from a Sony HVR-Z7U (HDV)
This camera records on a file format that is not recognized by the import function on FCP.
I normally have to confer those files using a program like Wondershare video convertor to transcode them to QT format then import them into FCP X.
Is there another way of doing this?
Chris:
If FCP X doesn’t recognize the video format, then your system is as good as any, in that you need to convert the files before bringing them into FCP X.
If you like the quality of Wondershare and can use the software easily, then there is no real reason to change.
Larry
Maybe a stupid question but can you go over the workflow again for FCPx to Resolve?
1. Import as Optimized/Proxy
2. First Cut
3. Lay Down Music
4. Add transitions/effects
5. Export as XML File (this is where I don’t know what to do — when I export where do I save the xml file? – When I open in resolve and begin color grading then what do I do to get it back into FCPx for any noise reduction and final export?
Also which format do you recommend for 1080p Vimeo? Prores 422 (HQ) is what I have been using.
Thank you,
Scott
Scott:
Once you export the XML file, open Resolve. It imports the XML file directly. (You can save XML files anywhere you want.) However, since the XML file just references the media, you need to either color grade the project on the same system that you used for editing, or be SURE to move the media as well as the XML file to the same hard disk to take to the color grader.
FCP X provides tools in the File menu you can use to move Libraries. This article can help:
http://www.larryjordan.biz/fcp-x-move-libraries-events-and-projects/
ProRes 422 HQ is an excellent format for editing and color grading. However, for Video it is WAY too big. Compress it using the Vimeo setting in Compressor or FCP X.
Larry
Dear Larry,
I just started a big multicam project. It is a feature documentary I shot in Africa and I had to use different cameras for different situations (Canon SX280, Sony FS700, Sony AX100, 5DIII).
I cross shot some scenes using the 4K AX100 and the FS700 (HD).
I imported the 4K and assumed “optimised media” would be the best thing. I’ve just realised only a few days into the edit that the 4K “optimised media” is actually 720p… quite a surprise! I would expect 1080p, which would then fit all of my other footage. Now the 720p “optimised media” needs rendering on the timeline and also will cause me issues on export.
So three questions;
1 – How should I have imported 4K footage in a mixed media project? (Proxies?)
2 – Will I have export issues if I have 4K proxies and the rest of the HD as “optimised media”
3 – Will I be able to reimport those 4K clips as proxies and retain all of the edits I have made to them?
Many thanks,
Michael
Michael:
I have a very hard time believing the optimized media is 720p. FCP will optimize media to match whatever size images you shot. Apple makes a big point of this. FCP will not downrez source media.
What MAY have happened, is that your render files, which are NOT the same as the optimized files, are 720p if you decided to edit in a 720p project.
1. You import 4K images the same as any other image. Keep in mind that render files will match the size of your project settings.
2. Exporting a master file will match the image size and codec of your project settings.
3. You should NEVER !!! reimport 4K files as proxies. Always import at 4K files, and use the Proxy setting in FCP X to convert to proxy files. Anything else will create a complete mess.
Larry
Dear Larry,
Thank you for your reply.
I also found it hard to believe. Since your reply I have looked into it in greater detail.
– All of my projects are set to 1920 x 1080 25p (I’m in the UK).
– None of my other media in the project was 720p – so the theory of the project settings changing to fit the first clip on the “timeline” is not possible.
– They definitely were not proxy files (if perhaps i checked the create proxy box by mistake) because otherwise all of my other media would have been offline if I was displaying proxy media only.
All I can conclude is that when I imported the 4K and checked “create optimised media” is that FCPX downrez’d it to 720p…
Very strange and I’m glad I caught it early or I would have had a really time consuming problem on my hands.
My solution was to delete all of the 720p media from the project and start again. I could not simply re-link the files to the original 4K files because they optimising process changed the file names.
So I lost a day of the edit. Could be worse. I have now re imported the 4K natively and it needs rendering on the timeline but I can live with that.
Thanks for your support!
Larry – I have a high school media studio where we work on Final Cut X, create a show, and export to played on a trickster studio. Tricaster’s customer help was not much help…they simply said that tricaster doesn’t really like .mov format. We have tried many different ways….mov with h264, and mpeg2, 15mbps, sometimes they work and sometimes they don’t. When they don’t work we either get no audio, it skips throughout the show, or we get a green screen. I looked at Tricaster help, and it said to either export to DV or DVCPRO.avi format….or export to .mov format using the DV type 2 codec inside.
I am not sure if I am just missing something, but I can’t find either of those options in the share folder, or for that case in compressor. Any help would be greatly appreciated!
cj
CJ:
I checked with my Tricaster expert. You are correct, MOV file don’t work with Tricaster, however, MP4 (MPEG-4) files work great.
And MP4 support is built into Compressor. The easiest is to use an Apple Devices setting – they are all MP4.
Larry
[…] Tu masz bardzo dobry artykuł w którym autor jest bardziej obiektywny do wszystkich opcji. Final Cut Pro Training | FCP X: When to Use Optimized, Proxy, or Native Media | Final Cut Pro Traini… Co do organizacji dobrze robisz ale już kilka osób widziałem co oddzielne projekty eksportowali […]
Larry,
Is it possible to choose an entire library and tell FCPX to optimize all the media in one shot after import? I know this should/could have been done on import and I know that I can choose individual clips and transcode them that way but I’m looking for a way to do all of them at once after import. I’m not seeing one though.
On a related note…. If I create a new empty library and copy or move all the media from another library into it can I optimize all the media at that point?
Thanks for your help.
Greg
Greg:
Yes and no.
You can select all the media in an Event and choose File > Transcode media > Optimize to optimize all the media in one event all at the same time.
However, you can’t optimize media when moving it from one library to another.
Larry
Larry,
I read what Brad Stoddard wrote above on May 12th, and I *think* he’s talking about the same thing I’m about to ask, but to be sure, I’m asking in my own words:
I’m trying to keep a project Library small and tidy for easy transfer to another Mac with a cloned drive of footage. I’d like to move (or perhaps delete) the High Quality Media folder (containing over 40gb of data) outside the Library itself to reduce the file size.
1) Is that safe or does FCPX need that folder in *that* specific place?
2) If it IS in fact safe, and I do move it, will another FCPX seat on another machine be able to relink to it or will FCPX just automatically regenerate any files needed?
3) If I actually just DELETE it, is it also safe, in that FCPX will regenerate any necessary files?
Thanks for any clarity you can provide. And much appreciation for your ongoing contributions to this community.
-Dan
Dan:
“Is it safe?” Well, that depends.
Without knowing more, my guess is that your project is LINKING to the media in that folder, in which case, deleting that folder will delete media being used by your project. In technical terms, this would be bad.
If the reason you want to delete this media is to minimize the size of the files you are transferring, you don’t need to delete it. All you need to send between systems is the library, not the related media. If the drives are cloned, you don’t need to send media files.
If the reason you want to delete this folder is so that FCP X will edit the camera native media, then, yes, you can delete this folder as it only contains the optimized versions of your camera native master files.
However, if those camera native files can’t be played by FCP X unless they are optimized (some forms of AVCHD and MXF are examples of this), then deleting the files will break your project.
My feeling is that if your sole reason for deleting these files is to minimize data transfer, this is a none issue. Just send the library files, not the media.
Larry