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Sharing
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You know what I just thought about Bob? We could have set our mount point in NFS manager to be ONLY the subfolders I use for Libraries and not the whole dang RAID. This would give us the benefits of NFS mounting and still kept iTunes over NAS on AFP, After Effects wouldn’t have face melted on renders to the NAS, and my overall speeds would have been fine.
That solution would still result in slower FCPX connection to the Library, but the media kept in a different location would still get the benefit of AFP’s faster speeds, so that might actually work.
John Davidson | President / Creative Director | Magic Feather Inc.
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But I’m taking the day off today so I”ll test that tomorrow :).
John Davidson | President / Creative Director | Magic Feather Inc.
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Ive said it elsewhere but would it really be problematic if a library and event was shared but a project or compound clip was locked?
Michael Sanders
London Based DP/Editor -
[Michael Sanders] “Ive said it elsewhere but would it really be problematic if a library and event was shared but a project or compound clip was locked?”
Yes.
To use a really crappy car analogy, you can’t have two drivers trying to drive the same car in different directions at the same time.
If two people have access to a Library, and both can write to it at the same time, things will get screwy.
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I think you’re wrong. The database is useful if and only if there’s a bunch of people that can access and use it. This is most of all about read (and not write) access – which is something not at all allowed under FCPX. You can have a single user accessing a “shared” library at a time. Normally – speaking of databases – you should have a crowd of them. Plus this crowd should instantly see updates made by those who have sufficient privileges. This is not at all possible and even though of in FCPX, which is a shame. So the car analogy doesn’t really apply here. What we need is several drivers seeing the same street lights, right?
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Joe,
You point out that other AVID users may have different experiences, and so I feel should offer up my experience as a counterpoint to what you’ve described. I don’t know the details of what precipitated your
issues, but I can only say that we simply could NOT do what we do (Large scale reality TV shows) without some form of successful project sharing.We certainly pioneered that workflow with FCP 7 and scaled it up to hundreds of users over three X-SANs.
When we chose to NOT use FCP -X we switched to AVID/ISIS 5000, and again scaled that to hundreds of users over multiple ISIS systems.You can criticize AVID for their conservative development pace on MEDIA composer, but as far as the ISIS and storage are concerned, it has been ROCK SOLID for years. It just works. Day in day out, with hundreds of users accessing multiple shows. I can’t even begin to wrap my head around how we’d do this with FCP-X’s scheme. Yes, I read the white paper from those folks in the UK. It gave me a headache.
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[James Ewart] “And then two editors can access the same “library” (for want of a better word) and also access the sae individual files?”
Libraries, no. Not simultaneously. If the Libraries are liked to external media, then in theory two editors could have local, mirrored Libraries that each link to the same set of media files on a common SAN volume.
[James Ewart] “Does that mean this step with 10.1 from Apple will not satisfy the Avid users?”
The FCP/PPro approach is so far away from what Avid does, it isn’t even funny. Whether you need what Avid offers – or have the IT knowledge or resources to support it – is a different matter.
[James Ewart] “So what systems do most of the large broadcasters (news sports etc) use? Is Avid their only solution?”
I worked in some mixed environments where news/sports is connected to Avid and promos/creative services uses FCP or Premiere.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Mark Raudonis] “You can criticize AVID for their conservative development pace on MEDIA composer, but as far as the ISIS and storage are concerned, it has been ROCK SOLID for years. It just works. Day in day out, with hundreds of users accessing multiple shows”
I’m with Mark on this one. I do a number of film editor interviews throughout the year and the majority of these editors work on Avid systems. Almost everyone uses an ISIS set-up that frequently connects 5-20 systems, once you count the assistants, VFX editors, etc. They all love it. These are folks who are truly working collaboratively on one project, not bouncing around copies of projects. Since ISIS is ethernet-based, it’s also easy for them to add more units, like a laptop, simply by connecting to the system.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Pawel Kasprzak] “The database is useful if and only if there’s a bunch of people that can access and use it. “
I wish folks would get over the whole “FCP X is a database” mantra, because it simply is not true. At least not anymore or less than any other NLE. It is not an asset management tool. If you want an actual media database that can be accessed from a range of access points, then look at Avid Interplay, Apple Final Cut Server (now dead), Cat DV or Axle.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
They can both be riding in the same car, but only one person is driving.
You can’t have two drivers, one steering wheel, and multiple destinations.
I’m not “wrong”, but it’s fine of you think that way, it’s just a crappy analogy.
Even with Avid, you can’t have two people writing to the same bin at the same time.
Only one person can write to a bin, everyone else can read.
One driver. Many passengers.
Or many drivers in their own cars tracking everyone else’s location.
If FCPX allowed read only, it would work somewhat similarly.
You could look at my library and borrow from it, I could look at your library and borrow from it, but we could only change the contents of our own respective Libraries.
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