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FCP X 10.4.7 is out
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[Michael Gissing] “FCPX update, which seems to be mostly about prep for new Mac hardware, how does the community feel about the pace and improvements to X by comparison?
“I feel great.
The Catelina migration forced me to dig deep into my OS and clear out years of 32-bit cruft.
Then 10.4.7 seems to have stabilized things even MORE and increased my editing fluidity nicely.
Still, my main laptop is nearing the end of it’s use cycle, so I’m holding my breath to see if the rumor’d 16″ MacBook Pro maybe hits at the Creative Summit and IF so, what its specs might be.
Hopefully, it too will be custom “tuned” to the new Metal environment and improve things even further.
As much as I love one, I simply don’t do anything justifies a new MacPro – which would be overkill for my work. Mobility is WAY more important than grunt to me these days.
Heck, my 2015 maxed MacBook Pro just got me thru my biggest billing quarter in the last 5 years with flying colors. So things are pretty great already.
The 10.4.7 update gave me a more fluid editing experience even on my older hardware.
So I’m really looking forward to the Creative Summit to see if Apple has any year end presents breaking over the holiday season.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
The current version works well for me and does all I need it to do. That said – where is the update? It’s been like forever! Can’t wait to see what improvements and new features 10.5 will bring.
When can we finally expect 10.5?
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[Michael Gissing] “I was beginning to fret as there hadn’t been a Resolve update for 5 weeks but they just released 16.1 . “
Since the Resolve editor keyboard depends on 16.1, they probably wanted to get it out of beta ASAP.
https://digitalfilms.wordpress.com/2019/10/14/davinci-resolve-editor-keyboard/
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “The Catelina migration forced me to dig deep into my OS and clear out years of 32-bit cruft. “
When you look at the 32-bit apps and pieces that are left over on your hard drive, many will be from old installers. For example, you’ll find old Microsoft Office and Adobe app managers, etc that have been replaced by current 64-bit versions. However, the old installers are still there, because they never got cleaned out. Truthfully, a totally clean install from the ground up is probably the best tactic with Catalina.
[Bill Davis] “Hopefully, it too will be custom “tuned” to the new Metal environment and improve things even further. “
I’m not exactly sure what that means. Metal is “tuning” the software to the hardware, not the other way around.
– Oliver
Oliver Peters – oliverpeters.com
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[Michael Gissing] “how does the community feel about the pace and improvements to X by comparison?”
I continue to experiment with Resolve, but it is still is subpar and clunky with regard to regular editing compared to FCP 10 or Premiere. So, the pace may get it there eventually, but not yet. I may begin to use it more for finishing on certain projects though. Maybe.
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[James Culbertson] ” I may begin to use it more for finishing on certain projects though. “
I finished two features on it but rarely touched the editor since they are all pic locks from other NLEs.
I think I’ll be using it more for just that.
Every time I try to start a project with Resolve, I hit a few kinks and head towards the other NLEs. -
[Eric Santiago] “I finished two features on it but rarely touched the editor since they are all pic locks from other NLEs”
The problem I’ve run into when mastering out of from Resolve is that a perfect conform depends on two things:
1) how diligent the front end teams (DITs, asst editors) have been in properly prepping the oddball media from the prosumer cameras with frame rates that don’t match the project rate, and
2) how complex the effects are – specifically speed ramps and plug-in effects/filters/transitions.
For most narrative projects, like a fairly standard feature film, finishing out of Resolve works well. However, for more convoluted jobs, it’s often best to render source clips and then roundtrip back to the original NLE. Then relink to the graded clips and re-establish all effects.
This is why Symphony remains viable, why FCPX and Premiere Pro are beefing up color features, and why BMD is pushing Resolve into editing. It’s all to get rid of the roundtrip.
But regarding the edit features in Resolve, right now it seems very schizophrenic with both the cut and the edit page. They offer completely different paradigms. You can go between them, of course, but common functions, like trimming, aren’t consistent between the two modes.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “how diligent the front end teams (DITs, asst editors) have been in properly prepping the oddball media from the prosumer cameras with frame rates that don’t match the project rate”
I agree. I’ve been lucky since both trips were RED and a few drone shots so no harm there.
Sadly, both also targetted HD for NTSC Broadcast but I always (on my own terms) keep a 4K and up version for safety. -
[Eric Santiago] “Sadly, both also targetted HD for NTSC Broadcast but I always (on my own terms) keep a 4K and up version for safety.”
When I’m grading in Resolve, I like to render clips at “source resolution” so those files are as large as they started. Then the finishing folks have the option.
But, yes, if I’m spitting out a finished timeline from Resolve, it’s good to at least export a textless 4K to future-proof, even if the request is for an HD deliverable. The only downside is when the creative editor and director know they have 4K to work with for an HD show, they tend to get carried away with punch-ins. So the 4K textless master now includes a bunch of blown up shots.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “they tend to get carried away “
Really, this rarely happens…LOL!
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