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  • A cautionary tale for the FCP switcher

  • Derek Andonian

    May 29, 2012 at 3:09 am

    I thought this was interesting- and surprising. I figured Avid would be up to this sort of thing…

    https://magazine.creativecow.net/article/a-cautionary-tale-for-the-fcp-switcher

    ______________________________________________
    “THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

  • Daniel Frome

    May 29, 2012 at 1:50 pm

    To be fair: the issue is more complicated than pinning it on Avid. Resolve is demanding that all media has a “tape name” tag — even if the media didn’t come from a tape. Avid doesn’t require a tape name to do its part, and therefore has no idea that Resolve would spit back that media.

    That being said — there is obviously more work required on Avid’s part to fix the ProRes support issue. Currently you can’t AMA link > Consolidate ProRes, and (from the article) you also encounter errors with mixed frame rates.

    Sounds like the perfect storm: He shot 30p media inside a 59.94 container, and Avid (wanting to be the ever inflexible beast) is balking at the AAF export for 30p — because the media technically ISN’T 30p.

    These are somewhat typical issues I encountered as an assist editor — nothing new here, but it’s still a shame. I may be crazy but I somewhat wish I had a hand in troubleshooting, because I had to deal with that exact stuff and always got it done one way or the other.

  • Rich Rubasch

    May 29, 2012 at 2:02 pm

    There are plenty of reasons to get all footage into a single consistent container, and it has been this way since HDV native editing and MPEG2 native editing.

    I don’t think I would ever rely on mixing multiple formats, or more than two anyway, in a single project timeline.

    Just think of the scenario Walter threw at the AVID to resolve all the various frame rates inside various containers and expect it would all come out just right. A lot to ask of any editor including AVID.

    Rich Rubasch
    Tilt Media Inc.
    Video Production, Post, Studio Sound Stage
    Founder/President/Editor/Designer/Animator
    https://www.tiltmedia.com

  • Mark Raudonis

    May 29, 2012 at 3:07 pm

    [Rich Rubasch] “I don’t think I would ever rely on mixing multiple formats, or more than two anyway, in a single project timeline.

    Rich… Rich… Rich…

    I’m glad you feel that way. However, for many people a common format is just not practical. Or possible.
    Or even desirable!

    If you’re coming from a FCP environment where the freedom to mix and match formats, resolutions, frame rates, and other details (Still size for example), then the inflexibility of the AVID approach is perceived as a negative. Throw into that mix the need to use an “off-line to on-line” workflow and you have a recipe for disaster.

    AVID would benefit from a long hard look at their competition. The world is becoming MORE splintered, and much LESS cohesive. Expecting a user to transcode everything to a “friendly” format is NOT forward thinking. Yes, I DO expect a lot from my NLE, but this isn’t 1992 and others have proven the “Swiss army knife” approach to timeline editing IS possible.

    Just my opinion.

    mark

  • David Powell

    May 29, 2012 at 3:58 pm

    Doesn’t fcp have to transcoded during the log and transfer process as well?

  • Mathieu Ghekiere

    May 29, 2012 at 5:03 pm

    Depends which codec.

    I think it pretty much can work natively with HDV and XDCAM (for instance).

    H.264 is one codec (and all it’s flavors) where I know FCP 7 struggles and it’s best to transcode.
    And RED, but although Premiere has the best way of working with it, it’s still not perfect (extremely long export times, and of course like you can read, it has it’s own media management problems from time to time).

  • Shane Ross

    May 29, 2012 at 6:36 pm

    I think that the article just makes a huge point that he should just stick with FCP 7. It still works, does what he wants, and will send to Resolve without issue. Sure, it’s 3 years old. But it works…

    Shane
    Little Frog Post
    Read my blog, Little Frog in High Def

  • Lance Bachelder

    May 29, 2012 at 7:16 pm

    Lol! That was my first thought – was all the pain worth the rush to dump FCP7 just because you’re upset with Apple for releasing FCPX? I was cutting a $30 million feature a few months back on FCP7 using first gen MacPros! I had 3 other Editors working for me on the same machines and we never had a single issue with FCP7. I understand wanting to test out other NLE’s and to future proof your facility but you need to keep working and keep your clients happy or they’ll move on, regardless of your NLE.

    I for one still believe it’s just easier to transcode all the footage coming in to one workable codec. Whether importing as DNxHD in the Avid or batching via Compressor whatever – taking the extra step can alliviate a lot of headaches down the line. I understand most NLE’s can now work with varied codecs and frame rates, but that doesn’t mean you should – especially if you need to get into Resolve reliably.

    What I don’t understand was why FCPX is never mentioned as a test system? This all has gone down since 10.04 and it seems that X might actually work well for the show based on the info in the article.

    I do appreciate Walter’s honesty and transparency – I’m sure it’s been a frustrating experience.

    Lance Bachelder
    Writer, Editor, Director
    Irvine, California

  • Gary Huff

    May 29, 2012 at 7:58 pm

    [Lance Bachelder] “What I don’t understand was why FCPX is never mentioned as a test system? This all has gone down since 10.04 and it seems that X might actually work well for the show based on the info in the article.”

    Because the magnetic timeline is b.s., no matter what other fixes/features Apple adds.

  • Lance Bachelder

    May 29, 2012 at 9:45 pm

    So we’ve heard though some who’ve actually used it seem to like it.

    Lance Bachelder
    Writer, Editor, Director
    Irvine, California

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