FCP Legend/FCP 10/Personal Use/Facility Use

[Keith Koby]

[John Heagy] “Interesting you are looking at Just:in we use B4M’s Fork extensively but it does not include any embedded metadata. I’ve been meaning to try Just:in for this reason.
“

We can talk off the record about this…

Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
Howard TV!/Movies On Demand/iNDEMAND Pay-Per-View/iNDEMAND 3D

[John Heagy]

[Keith Koby] “I don’t want tape capture married to an NLE in the future. I want it separate in a centralized location and stored as metadata and exportable to other tape capture mediums in the future. “

Yes that is inevitable. The big issue for us is data granularity. If you digitize a 2 hr program, but you just need a 4 sec shot, are you willing to restore the entire 150GB file? We do historical shows that have hundreds of tape sources most only containing a single shot for the conform. Tape is great for capturing only want you need.

LTO partial store is a feature that is talked about but rarely implemented. It’s really the holy grail of LTO but until it’s bread and butter LTO tech I’m not willing to chase that unicorn. I’m breaking up large files prior to archive. That makes linking tricky but we have some clever rabbits here.

John

[John Heagy]

Keith,

I sent you a LinkedIn message.

[Michael Gissing]

[Craig Seeman] “If you’re expecting a variety of work you get the gear to support it. You don’t expect modern gear to handle older formats and workflows beyond a point.”

I do expect software to be able to open older projects. That was my experience in the past with a range of DAWs and NLEs. The fact that Pr can open FCP7 projects and FCPX needs third party software is evidence that cross platform alternate NLE designers consider this to be important.

Today I am attempting to reload a ten year old audio project to send an OMF of tracks & stems for a reversion. If I can find a DDS3 tape drive that works amongst my collection then I can do this because systems and formats, although on EOL systems, are cross and backwards compatible.

I agree with the observation that Apple deliberately breaks such compatibilities and interchange formats on a cycle that is frustrating to anyone other than the isolated editor who lets facilities deal with that crap. If Apple decide the backwards compatibility ‘point’ is two years then sorry, they can cop some well deserved flack.

If you think the facility model is EOL then good luck working on anything that requires archived footage.

[Craig Seeman]

[John Heagy] “I would argue that tape is far from EOL”

Tape will be around a long time given all the old sources. The need to batch assemble a timeline from tape is getting scarce. Tape can easily be converted to file. There’s little need for that kind of offline/online given proxy file workflows. With ProRes and DNxHD, once captured, it makes sense to stick to the files.

[Aindreas Gallagher]

[Michael Gissing] “I agree with the observation that Apple deliberately breaks such compatibilities and interchange formats on a cycle that is frustrating to anyone other than the isolated editor who lets facilities deal with that crap. If Apple decide the backwards compatibility ‘point’ is two years then sorry, they can cop some well deserved flack.

If you think the facility model is EOL then good luck working on anything that requires archived footage.
“

Isn’t this, on some level, a point regarding Apple’s future potential role in editing going forward?
If the software produced by them is, and lately it is, deliberately designed to exclude older hardware and historical interconnects -what is the basis of trust?

why do you go with software from a mobile devices company running 48 month cut off points?
why are we pretending that this is a long term core professional pro software provider? Given that they aren’t?

FCPX software earns them .001% of (argue it) earnings . but pro level hardware, that FCPX is meant to leverage, maybe earns them 3/5% of total revenue – thats the good MBPS and the good iMacs.

all mac sales just fell 20% in the last call.

Part of me likes FCPX – but the idea that the software, or its pro hardware maker are in anyway stable over a 4-8 year horizon is sheer madness. they just lost their core executive. no one knows where apple is going.

bottom line: this is not, by any classical definition, an editing system provider.
it’s just not. magical thinking might let you think it is so. but that is magical thinking.

as a very large PS:
has anyone really worked Premiere through? I quite like it: because it would be very nice to have an industry recognised alternative to the late nineties early naughts avid hegemony. This one is coming from a company directly, shareholder value style, invested in its success.

bottom line: the idea that the craft of editing holds on to the coat tails of a company bigger than Exxon three days a week – that has literally no onus to continue what is a historical vanity project, is sheer madness.

Apple are not an editing system provider. Some small part of them might still like to think they are, but they just are not.

proceed at your peril.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Michael Gissing]

Totally agreed Aindreas. Trust and the fact that FCPX doesn’t suit my needs means I have voted with my feet and built a new PC with CS6 and da Vinci. Do I trust Adobe and Blackmagic? Compared to Apple yes I do.

[Craig Seeman]

[John Heagy] ” If you digitize a 2 hr program, but you just need a 4 sec shot, are you willing to restore the entire 150GB file? We do historical shows that have hundreds of tape sources most only containing a single shot for the conform. Tape is great for capturing only want you need. “

You can do that right now in Blackmagic and I believe AJA software. Independent of any NLE. Grab the 4 second clip and you have to file go into any NLE you’d like. You can even batch digitize a CMX EDL.

[John Heagy]

[Craig Seeman] “You can do that right now in Blackmagic and I believe AJA software. Independent of any NLE. “

I was talking about restoring the file from LTO not capturing from tape.

[Jeremy Garchow]

I don’t mean to start conflicts here, but have you really knocked on Adobe interchange with any heft? I’m genuinely curious because it creeps me out how weird it can be.

And how often Pr crashes, but maybe that’s just my system.

I know it’s new, but round trips to/fro Resolve were working better from fcpx on the first day of FCPXML’s public existence than I have been able to get out of Pr, and there’s the issue of native media management?

I’m sure it’ll get better, but I am curious on how you plan on handling all of this?

Going faster means you hit the wall with more force.

Apple deserves a ribbing, it’s true. In 2 years, any legacy fcp projects that we need to restore are going to become a big pain in the ass to manage. Clients don’t know, and certainly won’t care, to hear a sob story of my 4 year old software getting cancelled. They just want it done.