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FCPX comparison ’17 Quad iMac to Octo Core iMac Pro
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I would like to see the comparison for best quality h.264 output which I believe is not supported by quick sync. Or is that just me – it feels wrong to produce ‘quick low quality’ h.264 from all that Red footage…
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How about this Display Port to TB3
You’d need DVI to Display Port (full not Mini) -
Seems like it could work. The HP has regular DP output, so they would just need a DP to DP cable. I’ll pass it along. We’ll see, Thanks.
– Oliver
Oliver Peters – oliverpeters.com
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Why? Editorial decision making has totally different requirements from VFX or design work.
Why not allow tens of thousands of the world’s editors to get to work efficiently on lower Rez proxies – particularly if re-connecting to your higher Rez footage pools for finishing is as easy as throwing a switch?
Needing to access and transport big full Rez datastreams for editorial purposes is becoming more and more an optional workflow – not a necessity.
The actual editing is expressing choices against image and sound flows. The image quality just has to be clean enough to make viable decisions – not so maximized that it requires throwing unnecessary money at every rig you buy.
Times have changed.
My 2 cents.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Neil Goodman] “Please stop trying to turn everything into a PC/MAC debate. People in the market for an Imac Pro at 5,000+ are clearly not looking for a 1200 gaming PC whether it can outperform the IMACP or not.”
I was commenting on FCPX VS Premiere Pro not Mac VS PC. Remember Premiere Pro has an old laggy code base : )
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[Tom Sefton] “iMac vs iMac pro, and for some reason there is still an angle to post about buying an off the shelf gaming pc.”
The context is more FCPX VS Premiere Pro. FCPX cannot play back 4K R3D files at full resolution without dropping frames using a 2017 iMac. I thought Premiere Pro had the old and laggy code base and FCPX was custom crafted for the iMac. I think we can put that myth to rest.
I know it is fun to say Premiere Pro has an old and outdated code case but reality says otherwise : )
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[Oliver Peters] “SW – the DP here has one of those docks. The first one he had broke right away and he had to get a second one. I prefer the OWC docks, but they require external power, which makes them tied primarily to office use. So the side-mounted ones are good for fast, portable connectivity.”
Agreed. I certainly do not leave it attached when not needing it. Too easy to catch it on something and snap it off.
Scott Witthaus
Senior Editor/Visual Storyteller
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter -
“Why not allow tens of thousands of the world’s editors to get to work efficiently on lower Rez proxies”
However, the proxy workflow overall is an inefficient use of an editor’s time.
I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles -
[greg janza] “However, the proxy workflow overall is an inefficient use of an editor’s time.”
In what way?
For my work, the speed of working with proxies until the shape of the cut is determined – particularly knowing that I can play with scene order, juxtaposition and move things that “feel adjacent” into that type of adjacency on a whim, and instantly undo or re-rearrange them – seems like something I’d be very hard pressed to give up.
A solid proxy workflow encourages that type of experimentation.
I spent so many years seeing my timelines as assemblies tied to RENDER files that went offline if I moved anything out to place – to have the freedom to move anything anywhere without penalty is one of the greatest joys of modern editing.
That’s the way I see it anyway.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
“[greg janza] “However, the proxy workflow overall is an inefficient use of an editor’s time.”
Proxy workflows make complete sense depending on the project, the source material, how much time you have in post, and the system and storage you’re working from. I just created proxies for a couple of projects and gave them to our producer to do story edits. She doesn’t need the 3.2k files to that, and will likely be cutting on a laptop or older iMac off a single USB drive. So proxy makes total sense there.
When I was cutting longer projects on Avid we always did proxy workflow because it was fast, easy, and made editing a lot smoother and responsive. Then we’d export for color, relink to the camera originals, and master from those. Now that I’m on FCPX I don’t use proxies as much, in part because FCPX doesn’t have actual background transcoding or a good proxy workflow with third party created proxies (like through Resolve), but if you have time to just set it up to run overnight it can be a huge timesaver in the long run because there’s so much less lag on your system when editing.
[Bill Davis] “I spent so many years seeing my timelines as assemblies tied to RENDER files that went offline if I moved anything out to place – to have the freedom to move anything anywhere without penalty is one of the greatest joys of modern editing.”
You should have tried other NLEs. They didn’t all have that problem. 🙂
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Michael Hancock
Editor
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