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• “Reconforming Tape-Based Media”
• “Reconforming via Telecine Retransfer”
• “Reconforming to DPX or Cineon Film Scans”
Reconforming Offline Duplicates of Online Media
This workflow is appropriate for projects for which you originally ingested high-bandwidth
media (such as 8- and 10-bit Uncompressed or Apple ProRes 4444 media) for eventual
HD, 2K, or 4K mastering. It assumes that your offline edit was accomplished using
offline-quality duplicates of the source media that were created with cloned timecode
and reel numbers.
Stage 1: Mounting the Volumes That Contain the Originally Archived Media
You need to mount the volumes you used to store the original online media, in preparation
for a Reconnect operation. To relink the original media, Final Cut Pro needs access to
every piece of media used in your sequence.
Stage 2: Either Relinking the Media Right Away, or Creating a New Offline Sequence
for Relinking
How you relink your project to the original online media depends on whether or not the
frame size of your offline media matches that of the online media.
• If the frame sizes of your offline and online media are the same: Select all of the clips in
your sequence whose media you need to relink (except for clips like generators,
embedded Motion projects, or audio), and then Control-click one of the selected clips
and choose Reconnect Media from the shortcut menu. Use the Reconnect Files dialog
to reconnect all of your clips to the original source media.
• If the frame sizes of your offline and online media are not the same: Use the Media Manager
to create an offline version of the final edited sequence, changing the sequence settings
to match the resolution of your online media. Then Control-click the offline sequence
and choose Reconnect Media from the shortcut menu. Use the Reconnect Files dialog
to reconnect all of your media to the original source.
For more information, see the Final Cut Pro documentation.
Reconforming Tapeless Media
This workflow is appropriate for projects using tapeless media formats (also called file-based
formats), including DVCPRO HD and AVC-Intra (if recorded to P2 media), as well as native
REDCODE media. The tapeless reconforming process takes place entirely within
Final Cut Pro.
Note: Some tapeless formats, such as XDCAM, XDCAM HD, XDCAM EX, IMX, and REDCODE
require third-party utilities and software for ingest into Final Cut Pro. For more information,
see the Professional Formats and Workflows document, available in Final Cut Pro Help.
72 Chapter 5 Finishing