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Sharing
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It’s actually less than it was in FCP 7. Then you could create a project file, make it read only and this project would store the metadata descriptions you needed for a networked workflow. This can’t be done now which is a shame really, even though the potentials of database architecture are really great.
I think what’s still missing in asset management tools like CatDV is that you can only work directly on media files and not on multiclips or compound clips the way FCPX handles them.
What’s also important for networked strategies is how media and metadata are organized. In FCPX you have no other choice that to store everything on the same drive. The only flexibility you have (thanks God) is to leave imported media files where they are, not really copying them. Unfortunately you’re not free to do the same with proxies. Nd you badly need proxies when it comes to editing more that 4 streams of HD in multiclips. All proxies or optimized media must reside on the same drive where the rest of your event stuff is recorded. When it comes to San strategies (this is never mentioned in Apple’s whitepapers) you end up having media files (so proxies most of all) saved along with billions of tiny thumbnail, audio peaks and other data files, which make your San volume (optimized for large media files) go crazy. Block size parameter remains an issue as well if you choose to store everything locally.
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[Jeremy Garchow] “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.
“So it’s like…you can pick your nose. And your friend can pick his nose. But you can’t pick your friends nose?
John Davidson | President / Creative Director | Magic Feather Inc.
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[James Ewart] “Can somebody tell me whether Avid or Premier have the capacity for editors to have access to Media at the same time”
Let me add a bit about Premiere Pro, since I’ve come off of a week-long broadcast gig running PPro in a SAN environment. This is a station that shifted their production edit bays from FCP/XSAN to PCs running Premiere Pro CS6 (not CC yet). They have a fibre SAN using Promise arrays. The content is usually spots for clients and broadcast station promos. Plus a lot of content for the web. Also some 30/60-minute TV shows.
The SAN is file-level locking, like XSAN, so anyone can read/write and the storage shows up as a single drive. Content is organized within various folders and subfolders on the SAN. PPro project files are saved within the appropriate folder along with elements. Media may or may not be saved in the same folder.
The need for sharing is to be able to access any project from any room. Not multiple editors working on one project concurrently. Premiere does this reasonably well with a couple of exceptions. CS6 wants to “conform” all MXF media. This appears to be stored locally (in spite of settings) – at least with CS6. Therefore, if you started in one room and the next day move to another, the files will have to be conformed again in the new room.
The second complaint I have is that only one project can be opened at a time. With FCP 7, you could have multiple projects open and a project could contain only an edited sequence without any master clips. This made it easy in a shared environment to copy a sequence to a new, blank project and save it. Then another editor could open this and do edits to it. With Premiere Pro, you have to import sequences from one project into another. It’s workable, but not as simple as in the FCP 7 days.
On the plus side, Premiere strikes me as the absolute best NLE if you want to deal with native media. There isn’t another NLE that deals as well with a mishmash of oddball media files, with the exception maybe of Vegas. Build a sequence of mixed camera formats, frame rates and frame sizes? No problem. Friday I had to use FLV files that were temp comps for stock footage. Premiere was perfectly happy with this. I definitely don’t advocate native files, but if that’s how you want to work, Premiere does a good job.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[John Davidson] “So it’s like…you can pick your nose. And your friend can pick his nose. But you can’t pick your friends nose?”
https://www.youtube.com/watch?v=geDCtBQeN8c&sns=em
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Joseph,
Were these systems PC or Mac?
And what year was it when you tried out Avid in a shared environment?Avid project sharing on Mac using Unity has been reasonably painless since 2010.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
[Oliver Peters] “I’m with Mark on this one. “
A hearty “me too.”
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For what it’s worth I do not know of any facilities house (not even small ones) in the UK offing FCPX support. (I do know of one boutique facility where they are taking a serous look).
Not something with which I am pleased (I like to have somewhere to go for finishing) and I have said many times before the Uk were not wary adopters of Legacy.
Does anybody know if The Mill are using FCPX at all for pulling all their stuff together?
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one of my all time favorite movies.
“Princeton can use a guy like you.”
“My name is Joel Goodson.
I deal in human fulfillment.
Last nite I grossed over eight thousand dollars.”Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Mark Raudonis] “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.”
I do post end to end for network episodic television. Mark is absolutely right on this point. People who keep talking FCPX aren’t doing the same workflows
that need something like an ISIS. The new EVO by Studio Network Solutions looks promising and would greatly lower the cost of shared media for Avid or FCP 7.
FCPX is just a non starter in the big leagues. Sorry but that’s just the fact. People will take offense to this statement but then you have to look at what they are doing. Now as everyone chimes in on how well FCPX works, look at what they are doing as compared to what Mark is doing.Pete
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“ISIS 7500 is designed by media professionals for media professionals to address their unique storage needs. Not only does it enable collaboration, it encourages it, allowing more than 300 Avid and non-Avid editors to connect concurrently and simultaneously share the same SD, HD, and high-res media in real time”.
Does this really mean that 200 editors can be accessing the same file for their edits concurrently? And all play back a timeline with a clip from that file in their timelines at the same time?
I am beginning get the point here. We are talking good old fashioned broadcast engineering are we not.
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