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Background processes are an impediment to starting the edit
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[Tony West] “BTW, what are your thoughts on the quality of the Osmo Pro? I seeing more folks with them.”
Absolutely killer. Leaps and bounds above the older one.
Here’s a piece we recently finished that uses it a lot. Most of the on field, running with players, and walking in the halls of the school , or waking along with players on the street was shot with it.
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Awesome work Jeremy.
Powerful and emotional. I was so caught up in the story I almost forgot about the camera hahaha
I love that shot when the coach gives the player five and then you cut to his interview. Just a nice transition.
The Osmo shots fit in well and match the other cameras. I’m sold : )
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[Tony West] “Awesome work Jeremy.”
Thanks, sir. Much appreciated. We are proud of this piece. I’m just glad to be a part of a story that sheds positive light on Chicago and the public schools. Chicago needs more stories like this :), and then Peyton Manning got hooked up with it and made it even more awesome.
As far as cameras, we had mostly Sonys with F55, F5, a few FS7s. Then we had, GoPro, Osmo Pro, and the older DJI X3 camera still on the drone, although after this shoot, I finally installed the X5 mount so we can use the new Pro camera on the drone.
This project, actually, took a long time to maneuver. We had long 3 or 5 cam multiclips, and waveforms take a long while to build. There’s a TON of media for this little project (I think its over 3TB), and once all the background processes finished, it performed really great, it’s just that first day, or anytime I import lots of media, FCPX is slowww when it comes to playback/editing. Still gets the job done, though. Wouldn’t even think about switching to anything else at the moment.
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[Tom Sefton] “Yes”
There reason why I ask can be seen in the video below. Having said that my system does not get bogged down with JPEG files. What size are your JPEG files? My mediocre PC can edit several hundred 18 & 16 megabyte JPEG files without fail. Even CS 4 could do it. Perhaps Xeon CPUs are not the best option. The Quadro graphics cards have been proven to be inferior to the GeForce graphics cards when using Premiere Pro. For MAYA and 3D Studio MAX things might be different.
https://www.youtube.com/watch?v=NDmOHU6lmRw
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We own a lot of macs and a couple of new custom built PCs. There’s nothing between the 2013 Mac pros and PCs in terms of speed, but the PCs aren’t thunderbolt compatible which is a massive bind because we’ve got 5 portable raid drives that are all thunderbolt only. Irregardless, we work more on Mac, personally, I prefer everything about working on them. I wouldn’t describe myself as an Apple fanboy, but colour me Apple if you want – we work cross platform and my preference is for everything OSX.
Having said that – the new HP Z8 machines look cooooool
I have quite literally zero interest in debating Mac vs PC with you Andy.
Co-owner at Pollen Studio
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[Jeremy Garchow] ” The XAVC footage has 8 channels of audio on it (2-4 active), and if I don’t mute blank channels, performance literally goes down the tubes.”
Ding ding, ding.
IME, lots of used (or unused but still registering) imported audio channels will KILL the time it takes to get to work in FCP X.
I’m currently cutting a project that has 9.5 terabytes of field footage shipped to me on a big drive.
3 camera multicam on ALL the interviews, two of which on each have 4 channels of audio. It was a dog initially – until I went in and took the time to disable everything but the two tracks of audio I actually needed on all those sources.Then the whole project started to act normally.
X opting for maintaining the most precision possible in audio waveform accuracy – and needing to generate the screen representations of that – is IMO, the number reason X will get bogged down and perform slowly in the initial days of an edit.
Fix that early – and things typically get orders of magnitude more responsive.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Instantly, but I don’t “review” so much in the sense of skimming large swaths of stuff just to satisfy my curiosity about it.
Instead, I start with day one and immediately start my REJECT pass, pretty universally.
That reject pass IS my review. I’ll go through EVERY frame of the content. Most at 4 or 8x speed during the typically large “this is crap” sections and start REJECTiNG all that crap.
Slowing to 2x or 4x when “candidate” footage appears. (So I can monitor audio to watch for useful stuff)
When in the “useful” sections, I typically bucket it into either unrated, or FAVORITE (if i see gold) and then instantly go back to REJECTING more obvious crap.
This “reductive review” of the entire body of field footage is something I see as carving massive amounts of complexity out of every minute of work I’lll do from that point on – so it’s where I typically live for the first few days of the edit.
And since I’m spending time “working” the footage from the first minutes it arrives on my machine – in ALL those small pauses, breaks and delays that come up in a typical work session – the auto render kicks back in and essentially my computer is working “ahead” of me on waveforms and all the audio processes – so I’m never slowed down.
I understand that everyone’s preferred workflow is different. And some might feel the need to have everything “touchable” from the first minute – but TO ME – that defeats the way X can be operated most efficiently.
One issue is that this workflow can be interfered with if you get large batches of footage in a raster or encoding that your machine just can’t handle efficiency. And that’s a real concern. It’s likely why 10 editors will be working a project just fine – but another one will be struggling. The way the footage was captured may be making it vastly more challenging to work – and steps may need to be taken to fix that before you go too far into prep.
As I mentioned elsewhere, I’m currently working with a drive that was drop shipped to me that contains 9.5 terabytes of project files – two out of three cameras were Ninja recorded and set to MXF with 4 channel audio – even tho there’s only actually audio on 2 of the 4.
In my first hour of work (and with a client that wanted to “see a bit” ASAP, I did some window dubs that took WAY longer to handle than I expected. That experience sent me looking at the attached audio. Seeing those empty track was a red flag. I batch disabled them – and it was a HUGE difference in throughput efficiency.
X in that way is like every other piece of software I’ve every used. You have to understand the idiosyncrasies of your system to make it sing.
FWIW.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “IME, lots of used (or unused but still registering) imported audio channels will KILL the time it takes to get to work in FCP X.”
Yet this problem doesn’t appear to exist with the *ancient* Media Composer. Why?
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “IME, lots of used (or unused but still registering) imported audio channels will KILL the time it takes to get to work in FCP X.”
And you don’t think this is a problem? It’s not bandwidth, that’s easy, audio is easy. Why is it if I have 2 active and 6 silent channels on a file, it will beachball, but if all 8 channels have audio, it won’t beachball?
What is FCPX doing that it is having trouble playing back silence?
[Bill Davis] “Fix that early – and things typically get orders of magnitude more responsive.
“So we can agree that there’s issues beyond being “traditional editors” even though we use FCPX daily?
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[Bill Davis] “As I mentioned elsewhere, I’m currently working with a drive that was drop shipped to me that contains 9.5 terabytes of project files – two out of three cameras were Ninja recorded and set to MXF with 4 channel audio – even tho there’s only actually audio on 2 of the 4.”
That does seem to be the common denominator – waveforms and numbers of tracks. Definitely something that needs to be fixed. FWIW – it’s far worse if your media is coming from networked storage. Setting the import to ignore silent tracks doesn’t seem to help much.
– Oliver
Oliver Peters – oliverpeters.com
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