Final Cut Pro X + NEXIS | PRO

[Oliver Peters]

Maybe he cut it in X :/

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Robin S. kurz]

That would be even sadder.

– RK

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[Ronny Courtens]

I have only one thing to say about this video: I think that Avid will humbly remove it from their website after NAB.

– Ronny

[Oliver Peters]

[Ronny Courtens] ” I think that Avid will humbly remove it from their website after NAB”

I’m not exactly sure why you’d say that. What Avid is trying o do it tweak their storage so that you get similar performance from Media Composer, Premiere and FCPX. This is really to show clients who may be running a shop that is primarily an Avid shop, but who wants to be able to also use other NLEs, that they can do this with Avid storage. Although I’m sure they’d love to sell Nexis into non-Avid shops, I think they are realistic enough to know that this is unlikely.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Bill Davis]

I’m largely ignorant of most shared storage topics, but I suspect that the workflow featured in this AVID demo is now considered both deeply flawed and kinda lame by those working at the leading edge of this stuff.

The pace of development in high speed video shared storage space is EXTREMELY rapid.

So a shared storage workflow that was “bleeding edge” a year ago can almost be functionally obsolete today – the pace is kinda ruthless.

That’s how I understand it from talking to people who live and breath this stuff.

Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.

[Oliver Peters]

[Bill Davis] “I’m largely ignorant of most shared storage topics, but I suspect that the workflow featured in this AVID demo is now considered both deeply flawed and kinda lame by those working at the leading edge of this stuff. “

I’m not sure what you consider ‘flawed’. As someone who does work with these systems, I would so no, that isn’t the case.

Avid is STILL the only set-up (with the possible exception of Lightworks) where multiple Media Composer editors can work within the exact same project file, making edits and seeing the updates of each other’s changes. This is done because of the Avid bin-locking structure, which in theory could be adopted by FCPX’s Events. This feature was largely exclusive to Avid storage and for a long while Facilis and EditShare, however, that is changing where other storage solutions also permit that.

And Bob wasn’t showing a workflow. He was showing how you add FCPX users on Avid storage. That’s a bit different than a workflow demo.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Bill Davis]

Oliver,

Unless I misunderstand it, it’s the SyncFolders part of the workflow that I’ve heard the most commentary about.

Currently, the chatter I’ve heard is about latest changes to X as of 10.2.3 and how those interact with storage protocols. I don’t see nearly as much chatter about a synchronized folders approach. But again, I’m largely ignorant about that stuff.

There are indicators are from guys I know who tend to consult on the largest X workflows – in the biggest shops around the world – and who say they have quite a bit of news about shared storage for NAB.

This is coming from people I trust, and who I know work with many of the largest X networked systems globally.

They just are NOT talking about sync folders (note lower case: not any particular product) much anymore.

Unless they are and I’m just not hearing about it.

FWIW.

Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.

[Oliver Peters]

[Bill Davis] “Unless I misunderstand it, it’s the SyncFolders part of the workflow that I’ve heard the most commentary about.”

Yes, I understand where you are coming from. Using his approach, you can coordinate folders between users and local versus SAN locations. For FCPX to work right on a SAN, there are specific things that have to be set-up on that SAN and these are not generic. As I understand it, this is largely due to the forked approach X takes with media, sym-links, etc. These things are very specific to X. I’m not saying by any means that Avid storage is the best solution for an FCPX-shop. But that doesn’t mean the methodology is flawed with Avid storage. This video is merely a way to show how you can integrate FCPX into an Avid environment.

FWIW (and an edit to my previous post), it is also possible to have multiple editors open the SAME Premiere project on a SAN. However, until Adobe gets Adobe Anywhere worked out, this approach is very dangerous. Under the current software version, two editors can simultaneously open and edit in one project. Unfortunately, they cannot see the other’s changes and when either one saves, it will overwrite any work done by the other editor. Adobe Anywhere might fix this, but it is designed as a cloud solution, which many shops don’t want.

At present, unless I’m mistaken, you cannot edit within the same FCPX library from multiple locations. However, since, like FCP7, you can have multiple libraries open at once, it’s easy to go from one to another, which gets to the need to use “transfer” libraries. Yet, you can’t have two editors open each other’s projects while they are still working on them. That’s where Avid still maintains its strength in the feature film and TV show world.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Bill Davis]

Yeah, I think we agree on much of this Oliver.

X was designed with many capabilities that might make help it grow into an excellent collaborative editing environment over time – but anyone thinking it’s totally “there” right now is mistaken.

AVID wins that ballgame completely, fairly, since it’s had so many years to develop EXACTLY those capabilities for it’s core facilities constituency.

ADOBE may crack the code with it’s Anywhere approach. X may crack it in a different way with it’s “metadata about stored ranges” capabilities. The only thing certain, is that few are mothballing their big AVID systems because anything is clearly superior to that.

Nobody does collaborative as well as AVID right now. That’s still currently a given from everything I hear.

For me, it sounds like what is even “possible” using today’s network communications topologies might be changing fast as data speeds continue to increasing rapidly, and overall data pipe capacity (at an affordable price point) continues to expand.

Now it’s up to how each of these software approaches wants to fit into the new era with so many barriers apparently falling.

Interesting times.

Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.

[Oliver Peters]

[Bill Davis] “For me, it sounds like what is even “possible” using today’s network communications topologies might be changing fast as data speeds continue to increasing rapidly, and overall data pipe capacity (at an affordable price point) continues to expand. “

Absolutely agreed. The only impediment that I see is that of increased resolution. For example, if you do any extensive work in 4K, everything gets more taxing – by a lot. Faster computers, faster pipes, more storage. So that gains we make get gobbled up for no real valid reason. Naturally the industry doesn’t seem to want to stop at 4K. The only silver lining in that respect that I see for NAB, is that most folks are willing to rest a while at the 4K plateau. Hopefully, higher resolutions stay limited to acquisition for a little while longer ☺

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com