[Alban Egger]

yep, tried it (renamed file and moved it to a different drive)…works as advertised. Sweet.

[Alban Egger]

That is a silly list anyone can write up. Nobody knows what Apple is up to. At least nobody who can talk about it…….

MacPro: will be back with a vengeance
AppleTvSet: no big surprise this might be years away
IPhone5: well, evolution is going on…..so nothing new here either

I give you my 5 Apple/FCPX expectations for 2012 as a producer/editor:
– multicam
– HD-SDI preview (via thunderbolt and from 3rd parties )
– motion-roundtripping
– cleaner database (that doesn’t go to its knees with thousands of clips)
– API opened up, so plugins come in volumes

Probaly more of a wishlist……..

[Alban Egger]

Once you know what the problematic stuff is (sounds like any audio that has differents fps) simply attach a role to it, make a compoundclip. Solo-output this one compound.
Then disable the compound and export the rest to FCP7. Import the soloed problematic compound. It will be one long audio, so you need to break it apart again, but it will be faster than manually find them and sync them.

I hope Duck would work, but apparently that´s the reason why it´s free…they gave up supporting it.
X27 is close, so let´s hope they or someone else gets it working, because OMF-export is indeed a needed pro-feature.

[Alban Egger]

Well it is definitely a feature that Clips that are moved from the event to the timeline are independent. I wouldn´t want my clips in the event to be graded only because I graded them in the timeline.

your first problem: also a feature if you ask me. Let´s say the first quarter was sunlight, second quarter you had floodlights in the stadium and they look different, but are on the same file (happened to me). So once you split them and fix one of them you don´t want this effect to be on both. That´s why you split them. At the same time I need to ask, if you wanted to put an effect on it, why don´t you do it before you split the clips.

I have sometimes to make different highlight shows out of football games (4 minutes, 15 minutes, 30 minutes, 60 minutes); I guess you try to do something similar.

a good way would be to step into the compound clip.
Here´s a way (but there might be many more):
1- create your compound as you did with the football game and the graphics.
2- duplicate the project, let the first one be called MASTERCOMPOUND; the second is “30-minutes highlightshow”
3- in the new 30-minutes project select the master-compound-clip and make a compound out of it again!
4- Now step into the compoundclip (“step into timeline”) – which is your “master-compound-clip” again.
5- do your cuts here; if you need global adjustments you can always do them on the top-layer

I have done last season on FCP7 still. A 3-hour football game took me 3 hours to get broken down to 15 minutes including fixing the voice-overs etc. And in the end I had 15-minutes and not much more to work with.
I did a testrun in X (season didn´t start yet). With the event-paradigm, skimming and the magnetic timeline I cut the edit to 1hour40 and now also have all scores and big plays in keyword selections, because they just come as a sideeffect! So whenever I get back to this game I have the scores there. At the end of the season I click on seelction “player#26” and all highlights from that guy are there and it didn´t cost me any extra-time really.

I never saw the need to make compounds like you though. I just duplicate the main project and cut the file up. The graphics like a score are connected exactly to the time of the score. So even if I cut a chunk of gamefilm out, the scores stay in place, because they are connected. Fixing the voiceover is a breeze with the fast J- and L-cut mechanism in X.
If I then need global effects on the film, I can always make a compound in the end to throw an effect on or do audio-adjustments.

[Alban Egger]

X decides if it needs to make a ProRes file at all. Maybe your imported media was already good enough. E.g. Xdcam files do not get transcoded to prores.

[Alban Egger]

Forgot to add: i did also output OMFs and did it via FCP7. Since i had the mix done the audio department complained, because it was premixed, but once they heard it they were pleased. I did limited testing with ADuck and it worked fine, but i didn’t try it on a big timeline yet, only a few minutes with about 8 layers of audio.

[Alban Egger]

Jonathan, I produced several broadcasts with X already. I even covered our first one in a blog: https://fcpxmegatest.blogspot.com/

If you say you don’t want to go back to 7, then don’t. There is no reason anymore to use 7.

X will help you to finish faster with higher quality. All the QC feedback I got was “superb” and I didn’t even use Color or Resolve for those pieces. I used the built in colourboard and audiotools and it works great.

I recommend to “copy” and “optimize” on import ( turn everything else off). That way you have a slick Event that can be copied and (partially) moved.

Depending on the size of your even make sure you got tons of RAM! Once you reach several thousand clips your machine needs lots of it.

[Alban Egger]

Jonathan, it is a bug.

It is in one certain ZOOM-setting. The workaround is to zoom-in or -out of the timeline and the skimmer is back in place.

I have it on Lion and SNow Leopard and on all my machines. So it is not hardware related.

[Alban Egger]

[kim krause] “already the latest top end mini runs circles around the towers of just 3 years ago…the same old towers that most of the old guard are still using, filled up and maxed out with all new guts to get them up to speed!”

Haha…you sure won´t make friends with your post in here. But you are correct. There is no need for a MacPro anymore in 95% of the cases.
Use a MacMini or an iMac with a quad-core, the GPU does most of the work anyway now and can be easily exchanged every year when the GPU-pipelines accelerate.
All peripherals are hanging on LAN and the thunderbolt with easily enough transferrates to stream 4K in both directions while copying a bluray in the background as well.

it is obvious there is change again coming. Apple is leading, maybe 3 years ahead of Adobe and the rest. I am sure they bring a new MacPro, but sales will keep decreasing. The Photoworld is happy with iMacs, only video-pros are left as a target-group for MacPros with internal RAIDS and PCI-e connections. So there will be the day……..when the dinosaurs will find out the time has come to adapt.

[Alban Egger]

Don, I remember the Toaster…haha. I was on Amiga in the early 90s. Applied Magic hat a capture card out that was challenging the Toaster. I helped Microsoft´s Agency with their Win95 launch, because nobody could make an insert-edit in a BetacmSP tape within hours for little money. I could and the Ad (the one with Rolling Stone´s “Start me up” as soundtrack) was aired in time. Bill Gates never heard of any problems….nice.

FCP to me wasn´t a good NLE, it just was able to do a lot, but nothing really good. And it ran on Macs, which is a big feature in itself. I liked using it, but it frustrated me, knowing how NLEs years before had way better skillsets built in.

Anyway, many who have been through several NLEs and have seen the good ones, not only FCP, apparently like FCPX, because they find features that they have almost forgotten. I can totally repeat your experience. A few extrenal connections are missing, but the NLE itself is a rockstar.