Twelve Stone StudioShotmark Studio

Enter the admin password

Same one as the other admin pages. Stays unlocked on this device for 30 days.

Twelve Stone StudioShotmark Studio
⚠️This browser can't save into the shoot folder. Everything still works — the finished file downloads instead, and you drag it into the shoot folder yourself. Chrome saves it in place automatically.
01 / Shoot

Choose the shoot

The folder that holds each camera's card dump. Nothing uploads — the sidecar files are read right here in your browser and the video never leaves the drive.

📁

Drop the shoot folder here

e.g. 9.4.26 - Week 2 vs Cuero, with each camera's folder inside

or
Final Cut needs the real path. In Finder, hold ⌥ and right-click the season folder → Copy as Pathname, then paste. Set once per season — the shoot's folder name is added automatically. If it's ever wrong, Final Cut's Relink dialog fixes it by filename.
✅

Saved to the shoot folder

  1. 1In Final Cut Pro, File → Import → XML… and pick that file.
  2. 2Open the new event in the sidebar. The top-tier collection is where the best plays are; the “– All” collections hold every clip, uncut.
  3. 3Start from 00 — Suggested hype reel. It's oversupplied on purpose — trim the heads and it lands at 2.5–3 min. The empty timelines are there for building your cut.
02 / What's in it

Cameras

Read from the Sony sidecar files. Camera names come from the folder names — rename them under Advanced if you'd like.

03 / Stars

How the marks become clips

Every press of the shot-mark button is a vote. Presses close together count as one clip, and the number of presses is its star rating. Move the slider and watch the counts change.

…count as one clip. Tighter splits rapid taps into separate clips; looser merges them. Your taps are usually a quarter-second apart, so this rarely matters.
Footage kept before the first press. Err long — trimming a head is easy, adding one back isn't. Set it per tier under Advanced.
04 / What you'll get

One file, ready for Final Cut

Timelines cut different ways, keyword collections in the sidebar so every clip is one click away, and empty timelines for building your own cut.

Timelines
Keyword collections
⚙️ Advanced▶

Tiers labels · pre-roll

TierLabel (shown in Final Cut)Pre-roll (s)
Custom labels keep their number in front (“5 · Must use”) so Final Cut sorts the collections in rank order. Within a tier, the hype reel still prefers more presses.

Timelines

Clips stay at their native rate; this is the project's rate.

Suggested hype reel

minutes, raw
minutes, raw
Takes whole tiers highest-first until the window is met; the tier that would overshoot is filled strongest-first. Raw length — trims to roughly half.

Cameras

Clock offset shifts a camera on the shared game clock, for when its clock was set wrong. Leave at 0 unless you've measured it — it only affects the order of clips in the combined timelines.

Media kit logos · openers · closers · sound

A folder of things you always want on hand. Sub-folders become collections (Kit · Logos, Kit · Sponsors…). Everything in it is added to every shoot's event, ready to drag onto a timeline.

Output

Backups

Past shoots

Every generate keeps the shot-mark data and the finished file here, so a lost card or deleted sidecar isn't the end of the world.

Reference

How it works

What it reads

Sony cameras write a small XML sidecar next to every clip. It holds the clip's length, frame rate, when it started, and every press of the shot-mark button. That's all this needs — the video itself is never opened or uploaded.

Stars

Presses within a few seconds of each other are one clip; the number of presses is its tier. Each clip runs from a pre-roll before the first press to the last press. Green marker = clip start, red marker = the press.

What you get in Final Cut

One event holding every clip, with keyword collections per tier and per camera (“Ryan Cam – All” is the whole camera, uncut). Timelines: a suggested hype reel, star hits per camera, 3+ and 5+ across cameras, raw marks per camera, plus empty timelines at 23.98 / 29.97 / 59.94 for your own build.

Roles

Each tier gets its own audio role so Final Cut colour-codes clips on the timeline. Final Cut picks the colours on import — change them in the Roles editor if you want specific ones.

The path field

Browsers won't reveal a folder's real location, but Final Cut needs it. Paste the season folder's path once; the shoot's name is added automatically. If the drive letter or folder ever changes, Final Cut's File → Relink Files matches by filename.

Command line

The same logic also runs from Terminal as shotmarks_to_fcpxml.py, with automatic cross-camera clock sync that this app leaves out. Both produce the same file for the same settings.