[Alban Egger]

[Andy Field] “It’s now an entirely different program – no crashes – crazy fast…..it appears this program needs lots of ram and a very fast machine. Impressive.”

Hmm…haven´t many here been saying this for months? 16GB RAM and a GPU from 2010 and younger is the minimum. Then FCPX works as you expect it to.

I don´t think you need the Retina, my 2011 MBP and even my MacPro from 2009 work fine with it (although the MacPro misses Thunderbolt).

[Alban Egger]

[Marcus Samuel-Gaskin] “$100. Joker.

This guy should take a leaf out of 7 to X’s price point.”

I find it interesting that people complain this $ 299 app doesn´t have certain special features that $ 1500 apps have. but when someone adds these features the first reply is about the pricepoint making FCPX a 399 app?!

Kinda lame. If you need EDL out, charge the client or the post-house 50 each time and it will make you money. EDL out is not an iPhone-gadget but a professional need.

[Alban Egger]

Seems like you already start wrong. You should not import the mxf with “import files”, but import the whole card-structure with “Import from Camera”

I think I have seen this mistake and it had to do with wrong interpretation of 720p50. that was in FCP7 and showed the exact same symptoms. FCP7 tried to stick to its original duration but play as 25p instead of 50p. With you it is of course 30 vs. 60p.

I am constantly importing P2 material with 720p50 and 720p25@50fps. And never had a problem with it.

In FCPX put the file on the timeline and go to “Modify – Retime – Conform Speed”.
See what happens now. In a 30p timeline it should be doublelength slomo if it was shot as 60p and it should just say 100% with a green bar if it was shot at 30p.

[Alban Egger]

[Anders Haavie] ” I am talking big productionhouse (from 6 editingsuites and up on a SAN).”

If that is your only concern with FCPX, then you might be in for a treat soon, because everything in X´s structure points to exactly that.

[Alban Egger]

you can loop the timeline. If it only has a single clip it loops that. but if you have two it will play through to the next.

[Alban Egger]

Haha….I was afraid I would break loose a Win-OSX discussion.
Again, my experience is on Windows machines I have more downtime. It is true Macs are not the fastest machines technically, but in the process of a year´s-production it is in MY environment more effective to run Macs.
Limitations in hardware or software don´t bother me as long as the software I need runs on a Mac.
Let´s end this Win-Mac discussion. The OP wants to know about PP6.

[Alban Egger]

[Walter Soyka] “[Danny Finch] “The fact that my Macbook Pro is still running strong after 5 years is proof of why the Mac is the professional standard.”

Danny, I would have agreed with you a year ago, but this line doesn’t fly with me anymore.”

Sorry, Walter, but he talks 5 years, not several months.
I have both in my environment with different tasks (complete live-streaming setup and digital signage via Windows, Production via OSX) and there is no doubt Apple machines and OSX are better for professional work. There is practically no downtime, there are no driver-issues, there is no servicing. They just work. And whatever machine you build for your Windows….there will be the day when some software doesn´t support your graphics-card driver….you upgrade and mess with another program which needs the old one…..it just happens much more often Windows than in Mac (due to the fact that Mac hardware is indeed only limited in terms of new cards/main boards etc)

[Alban Egger]

Unfortunately the “Send to Motion” deson´t exist (yet).
So what we do is setting up FCPX effects in Motion and publish them into the FCPX effects tab. Works great. But we do miss to send clips out of the timeline.

AE….simple alphamasks (ProRes4444).

This was edited in FCPX, tracking and titles in After Effects, Grading on a real DaVinci, Sound in ProTools.
https://vimeo.com/45690368

I was only one of two camera-operators here, but the edit and final mastering was done by my colleague, who is on FCPX since July 2011 just like me.

[Alban Egger]

[Herb Sevush] “X is incapable of presenting an editor with the type of clear visual representation of the project that any tracked NLE can provide. The importance of that visual info is subjective – I demand it, others don’t seem to care.”

No NLE is perfect. And it is up to us users to find the one or two that work best for our purposes. And for me the clumsiness that comes with tracks is a bigger drawback than the loss of visual representation during one certain process of the whole work (I don´t care about where which soundeffect is until I output stems). While I put the effect in place I am in a microsomos of a few frames to seconds anyway, where I have enough visual reference anyway. It is the finishing, when you look at the big picture where it would be nice to see better what is what on the timeline. I agree.

[Alban Egger]

Herb,
no, you can´t look into a compound – actually a nice feature request to have a 50% opaque compound!).

This compound-track-trick would only make sense so an editor who gets the Project could fast see what´s going on. He would then uncompound and stick to the roles highlights.
Compounding would not help your work as you need it. Sorry for the bad news again 😉