Bret Williams
Forum Replies Created
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“Honey, what’s this box from Amazon?”
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[Pete Lax] “but obviously when I started editing again FCP started to re-render everything so I lost the space.”
Very few have auto render turned on for this very reason. Turn off background render in preferences. If you need to render something, select it and choose ctrl+R.
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If you need to relink your whole library, you can highlight the library in the browser. Then select all the media and choose file>relink files. Instead of checking the “missing” box check the “all” box. Then you should only need to point it to the new drive.
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And if you go 27″ you can change the RAM yourself. Buying 32gigs for $200.
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The i7 isn’t just a newer faster processor, it also supports hyper threading, doubling the number of virtual cores. And, apparently, that’s a good thing.
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I thought X required a gig of GPU. I have the maxed out late 2012 iMac. In some ways the 2011 maxed out is better. But you want the 2gig GPU. The difference in CPU between the 2011 and 2012 is negligible. I upgraded from the 2011 to get an NVidia card for Adobe. I also gained USB 3. But you lose FW800 (easily restored with an adapter). You also lose a SuperDrive but I bought a portable Samsung blu-ray burner that’s better for $80.
My maxed out 2012 is worth $1750 on eBay.
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Not necessary. But if you’re using a MacPro, new or old, you may have issues with performance unless you optimize to prores. It’s just a checkbox on import or in your prefs and it happens in the background. You can continue working utilizing the original clip until the conversion has completed.
An iMac i7 (i5 too?) has a built in h264 hardware acceleration making single pass h264 export extremely fast and appears to assist on h264 playback in the timeline as well.
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Haven’t seen that. But I almost never keyword things that way. I usually create keyword collections and then drag the clip or portion to the collection.
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I would agree. Hourly is best reserved for situations where you have no control over the scope. Generally when you’re an editor for hire. When someone else is in control of the shooting, the script, the end client, etc.
But when you’re being asked to produce something from start to finish, hire the writer, hire the shooters, book the editor, and control the ideas and scope with the client, then a budget should be established. And you’re right, a estimate or quote should be the maximum. It should have a hefty contingency built in. And if the product is much simpler than expected then I’d suggest some of that go back to the client.
I have two types of clients. First, producers that book me to edit THEIR projects where I charge by the hour. I try my best to meet their budget but I have little control over the scope. The other type of client is a company that hires us to take responsibility for the entire project, from idea to execution. We control the scope and build a good contingency in our budget and try to both exceed expectation and come in under budget. This type of project usually brings in much more per hour.
I believe you get paid for responsibility. A skilled laborer charging by the hour isn’t generally sharing in the risk and should be paid handsomely per hour/day. But if you’re taking on the risk and responsibility for a project you should also be rewarded for it.
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I don’t think you can close s project. You can close a library, but once you open it it will load a project into the timeline. Seemingly randomly even.