Apple and Thunderbolt 3

[Richard Herd]

[Bill Davis] “Clip A arriving in as h264 with a single stereo track. Today I sit down to work with clip B arriving as MXF with 16 embedded audio “

Workflow question. I know you use X. Do you proxy or change them all to APR, or just stay native and output a single mp4 (or whatever). (Sorry if this answered elsewhere.)

thanks!

[Jeremy Garchow]

[Richard Herd] “Do you proxy or change them all to APR, or just stay native and output a single mp4 (or whatever). (Sorry if this answered elsewhere.) “

I regularly edit 4K XAVC MXF and never optimize/proxy.

I Share out to mp4/ProRes/whatever. I’ve run tests and optimized doesn’t seem to run any faster.

[Darren Roark]

Not sure if they are low volume, they are everywhere here in LA.

[Andrew Kimery]

[Darren Roark] “Not sure if they are low volume, they are everywhere here in LA.”

Apple doesn’t release hard numbers by product line, but I’d bet the nMP is probably Apple’s lowest selling computer by a country mile. Okay, the Mac Mini, which hasn’t been updated since 2014, might be down there too but, iMacs dominate the desktop sales and the Apple laptops outsell the iMacs. Desktop workstations are a niche market these days and the nMP s a niche w/in that niche.

If there is a standard, computer industry range for ‘low volume’ I don’t know what it is, but the nMP is definitely low volume compared to everything else Apple sells.

[Darren Roark]

Agreed, but calculating the raw parts minus the GPUs the ‘dollars to donuts’ profit margin is huge.

[Tom Sefton]

I see the strength in a proxy workflow, but the projects we’ve been working on recently have such a huge size that duplicating to proxies in prores is restricted by space on RAIDs. The sweetpspot between rendering time to proxy and better performance with editing and the time and space required to do this have meant it works better to use a raw workflow.

Co-owner at Pollen Studio
http://www.pollenstudio.co.uk

[Bill Davis]

[Steve Connor] “What “same tools” did you mean? were you referring to other NLE’s that couldn’t cope with the mixed footage workflow you were describing?”

I’m pretty sure in the modern NLE era that all the programs can cope with anything you throw at them just fine.

I don’t want to cope.

I want to be excited.

With X I am. Every new project I receive is fun because I have new tools to use to solve old problems – in new ways. A good measure of the drudgery I used to face is gone. Apple, love them or hate them, seems honestly dedicated to driving real friction OUT of my work, making it increasingly easier to bring order to my planning, execution and expression of my thinking via editing.

As long as I continue to see that. I’m good.

It’s inarguable that they re-invented quite a few ideas at the core of editing operations in X. In my experience almost all of those ideas have proved to be significant improvements.

Others are free to ignore or even actively dislike them. Perhaps for good reasons (doesn’t suite my preference/style) or what I consider bad ones (no need to change NLEs at all, ‘cuz how we edited 15 years ago (with refinements) is plenty good enough.)

Its no secret that I was lucky enough (along with others) to be in the right place at the right time to get a glimpse of where X may be headed.

All I can say is that it continues to be a journey I’m excited to be on.

And so it goes.

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[Steve Connor]

[Bill Davis] “I’m pretty sure in the modern NLE era that all the programs can cope with anything you throw at them just fine.
“

Thank you for the clarification

[Bill Davis] “I want to be excited.”

I think even beyond FCPX it’s a pretty exciting time for Cameras and Post_Production as well

[Andrew Kimery]

[Darren Roark] “Agreed, but calculating the raw parts minus the GPUs the ‘dollars to donuts’ profit margin is huge.”

Oh, yeah. I can’t imagine Apple making a hardware product that doesn’t have very plush profit margins.

[Bill Davis]

[Steve Connor] “I think even beyond FCPX it’s a pretty exciting time for Cameras and Post_Production as well”

I absolutely agree.

When I was starting out, a single pro camera with a fraction of the performance quality of today’s inexpensive sports cams was priced in the tens of thousands of dollars.

These are amazing times.

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