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Ideal FC Studio Hardware Spec
Hello
I’m a grizzled old Avid editor (I remember when you could go up to AVR3 and your storage was a massive 1GB SCSI drive which cost £1000), but am about to bite the Apple bullet and embark on my first long-form FCP job.
The production company wants to buy its own Final Cut system which it’ll use on this and future projects, and I’ve asked to cast my eyes over the equipment spec they’re proposing, so my question is this: what do people recommend constitutes an “ideal” FC Studio setup? What spec of Mac? How much RAM? How many monitors? (can I have 3 like in my Avid setup? What kind of video card do I need in that case?) What kind of storage? How much of it? What outboard equipment? If it was an Avid job I could work it all out myself no bother, but with FC I’m not so confident.
The film is shooting 24p HD using Viper cameras, and each day the uncompressed HD rushes will be transcoded to SD 24p Quicktimes which I’ll use for the offline. No need, then for any AJA/Blackmagic type of I/O as it’ll be a completely tapeless solution. We won’t be finishing in Final Cut – it’ll be conformed at uncompressed HD and filmedout (filmouted?) – though I might fiddle about a bit with Color/Soundtrack to tart up the offline for viewings, and will likely use DVDSP to author viewing copies. I’m thinking I might ask for a separate Macbook Pro for this which I’d hook up via gigabit Ethernet to the main editing computer so that authoring can happen concurrently with editing, sharing the media.
I’d be incredibly grateful for any advice those more experienced than me in these matters can offer….
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10 Replies
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Have you researched this forum at all? This question comes up a weekly basis and I’m sure you’ll find a lot of information to chew on.
One thing you need to know right away is there is no “Ideal” spec for FCP. You spec it for what you need to do.
[Adam Recht] “The film is shooting 24p HD using Viper cameras, and each day the uncompressed HD rushes will be transcoded to SD 24p Quicktimes which I’ll use for the offline.”
What kind of 24p Quicktimes? DV? DVPro? DVPro HD?
[Adam Recht] “it’ll be conformed at uncompressed HD”
This can easily be performed by FCP if you wanted to. FCP supports up to 2K with the AJA Kona boards. Storage is cheap too.
[Adam Recht] “though I might fiddle about a bit with Color/Soundtrack to tart up the offline for viewings, and will likely use DVDSP to author viewing copies.”
Both require a learning curve and most likely not necessary for offline cuts. Just use FCP and the 3 Way CC tool. Color is not something to just jump in to for an offline cut. It’s an intensive finishing tool.
My setup is easily qualified for 2K and Uncompressed HD editing.
Mac Pro Quad 3.0 (one year old, get the fastest they have now)
3GB RAM
AJA Kona 3
ATTO R-380 SAS Controller
MaxxDigital SAS/SATA 8TB Array (500MB/s in RAID 5)
ATI 1900 Graphics Card (the 2600 is standard now, you’ll need two to drive three monitors)Sharing the array with a MacBook Pro is something you’ll need to look in to.
One thing for sure, if this is your first FCP system, do not spec it, build it and install it yourself. Hire a VAR to spec and build it for you. When things go wrong, and they always go wrong when you switch from one NLE to the another, you want to know whether its operator error or equipment shortcomings right away. Make the VAR come in and troubleshoot any issues you may have. This is what I did when I switched from Media 100 to Final Cut Pro back in 2001. I had all sorts of “issues” when I made the switch. Most of those “issues” where just operator error because I was expecting FCP to behave like Media 100. It doesn’t and it doesn’t behave like an Avid either. FCP is what it is and you have to adapt your workflow to the application.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
Hi –
I like to yell at people, and your post is exactly the type of person I can yell at.you write –
I’m a grizzled old Avid editor (I remember when you could go up to AVR3 and your storage was a massive 1GB SCSI drive which cost £1000), but am about to bite the Apple bullet and embark on my first long-form FCP job.REPLY – you are an “old” AVID editor – then you know how much an AVID costs. Your not some kid – right ? Things are a lot cheaper now, but the EDUCATION factor is no different than when you learned how to use an AVID. You must LEARN.
you write – what do people recommend constitutes an “ideal” FC Studio setup?
REPLY – when you got your AVID, didn’t you ask an AVID dealer ?
you write –
What spec of Mac?REPLY –
go to http://www.apple.com, and see the ONLY MAC that Apple is selling for professionals. You can also contact a dealer who sells COMPLETE SYSTEMS, and they will give you the SAME advice – there is only one choice.you write –
How much RAM?
REPLY – minimum of 4 Gig, but are you doing graphics ?you write –
How many monitors? (can I have 3 like in my Avid setup? What kind of video card do I need in that case?)REPLY – do you edit for a living ? Do you live in a cave ? Haven’t you seen a Final Cut Pro professional system ever in your life. Are you not exposed to professional equipment at the different facilities that you work at ? Over the years, AVID released new equipment every year – didn;t you see the different AVID’s over the years ? Well, EVERY EDIT FACILITY near you owns these new Final Cut Pro systems, so do the dealers – maybe you should get out of that BAR, and walk over to a post production facility and TAKE A LOOK at what people are using these days. And YES, you can have THREEE monitors – just like your AVID. What kind of video card – you don’t need to worry about this – you haven’t a clue how to build a system – let a DEALER decide this for you – someone who will take responsibity for putting your FCP system together for you – the one with THREE monitors – just like your AVID.
you write –
What kind of storage? How much of it?REPLY – again, what kind of question is this. You work on AVID – you can work at DV25, you can work at uncompressed SD. You can work at DNxHD for HD systems on Adrenaline. You know that the higher the resolution, the more storage you need. You expect an answer, when you give no information about what resolution you are working at, and what your delivery requirements are. ITS JUST LIKE AVID – you can’t make a decision without background information. There are LOTS of companies that make storage – they are advertising RIGHT HERE on the banner ads on this forum – but you should not make this decision – you should rely on your dealer to assist you.
you write –
What outboard equipment? If it was an Avid job I could work it all out myself no bother, but with FC I’m not so confident.
REPLY – I don’t believe you. The “outboard equipment” is NO DIFFERENT than your AVID system – the same montior, the same mixer, the same speakers, the same black generator. If you know the answer to your AVID system, it’s the same answer to your FCP system.
you write –
The film is shooting 24p HD using Viper cameras, and each day the uncompressed HD rushes will be transcoded to SD 24p Quicktimes which I’ll use for the offline. No need, then for any AJA/Blackmagic type of I/O as it’ll be a completely tapeless solution.REPLY – this is the reason I am torturing you. You are on a BIG BUDGET JOB, and you ARE NOT A KID. You are using VERY EXPENSIVE VIPERS and you are an EXPERIENCED EDITOR. You need to LEARN MORE QUICKLY, look at these forums, look at the banner ads, contact a QUALIFIED DEALER, since you are uncertain. The world did not change that much between CMX editing and AVID editing – and it has not changed that much between AVID and FCP. It’s the same principals. There are new companies, and they ADVERTISE RIGHT HERE ON CREATIVE COW. you should visit a modern post house, you should meet with a PROFESSIONAL VIDEO DEALER, and you do need an AJA or Blackmagic card.
My guess is that you should hire a 24 year old to teach you how to use Final Cut Pro, as you will probably say “FCP sucks, it’s not like an AVID”.
Bob Zelin
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“I like to yell at people, and your post is exactly the type of person I can yell at….My guess is that you should hire a 24 year old to teach you how to use Final Cut Pro, as you will probably say “FCP sucks, it’s not like an AVID”.
Bob Zelinor… after reading the two different responses he also might say… “Bob Zelin sucks….he’s not like Walter Biscardi” 😉
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Thank you Walter and SHOUTY Bob.
Of course I wasn’t planning to spec the system myself.
I said I was going to cast my eyes over the hardware spec that’s proposed to me, and I was asking for people’s recommendations for what constitutes their “ideal” system so that when I’m presented with the equipment list I would have the collective thoughts of the forum to throw into the discussion. I’d be able to say things like “this guy in California raves about his JL Cooper controller… what about one of those?”. Of course the dealer will have his own opinion on all this stuff but he’s just one dealer. This forum represents wisdom from across the world and that is its great value. No two “ideal” systems are the same which is why I asked the question.
Walter’s response was helpful – he told me about his setup and gave some advice. Bob’s told me to go do WHAT I was going to do ANYWAY, only with more SHOUTING, and without ANSWERING THE QUESTION. Good to see he hasn’t changed since I used to hang out on the Avid-L 🙂
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[Tom Daigon] “or… after reading the two different responses he also might say… “Bob Zelin sucks….he’s not like Walter Biscardi” ;-)”
To know Bob Zelin is to love Bob Zelin. Rough on the outside, but he’s a great guy. He completely re-engineered our facility to make it so much more efficient than what it was.
https://blogs.creativecow.net/node/258
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
Aww I know Bob Zelin is a tremendous engineer having read his posts over the years. I consider being flamed by him a badge of honour. Even if his attack on me was completely unprovoked and uncalled-for 🙂
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[Adam Recht] “Even if his attack on me was completely unprovoked and uncalled-for :)”
Wait….. Bob needs to be provoked? Maybe when he slows down one day, but right now he’s still shooting first, asking questions later. 🙂
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
[Adam Recht] “Walter’s response was helpful – he told me about his setup and gave some advice.”
By the way, as a follow-up, if you want to see all of our system details, simply click on my Profile link. It’s my name just above this post next to by:
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
Here we go Adam – a complete list (it’s just a suggestion) –
Apple MAC Pro with minimum of 4 Gig of RAM
2 DELL 2407WFP (or new 2408) 24″ LCD monitors
1 Apple Final Cut Studio 2 Software package
AJA Kona 3 with AJA K3 box
AJA I/O (you will use this for conversion of your SD products)
AJA GEN10 tri level sync gen with AJA DWP power supply
Maxx Digital EVO 8 TB RAID 5 drive array
Behringer Xenyx 2442FXPro audio mixer
Behringer B2031A speakers
Panasonic BT-LH2600W 26″ LCD HD-SDI monitor
APC Smart UPS 1500RM2U (this will run the whole system).If you chicken out, and get an AVID Adrenaline, you can just remove the AJA Kona 3 and I/O and FCP software, stick in the Adrenaline, and use the same list.
There are LOTS of alternatives to this, but the combination of the Kona 3 and I/O will give you the most flexibility (at the highest price – but even this combo is under 5 grand).
These systems have become commodity items. Some people like AJA, some people like Blackmagic (and some people simply want an AVID Adrenaline !). All the drives on the market are good – Maxx Digital, Dulce Systems, Cal Digit, Sonnet Technology, G-Tech, etc. The MAC Pro is the only choice you have. Dell monitors, Apple monitors – who cares. For HD monitoring, you can choose countless products on the market – the Panasonic I listed is popular, but there are countless choices on the market today. I listed the Behringer mixer because you will use it for monitoring your audio – the actual audio will travel via the SDI embedded signal (just like you do with MODERN AVID systems) – no more analog audio path, other than monitoring. As for the speakers – well, we can sit all day and talk about who likes what. The Behringers are cheap, and work very well.
Just remember Adam, there is no being lazy in this business EVER EVER EVER.
Bob Zelin
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Bob,
Adam mightn’t remember me, but I can assure you he is anything other than lazy!!
Adam – we met a long while ago when you did some work for Victoria Real in the Brighton days! Can’t remember what it was you were working on at the time. Funnily enough, I was only talking about you the other day – I’ve been dubbing a feature with Paul Roberts down in Devon and your name came up.
Anyway, I’m fully FCP now and you can gladly pick my brains if you wish. Drop me a mail or give us a bell if you need to…
All the best
Jason
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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