[Cory Caplan]

I just wanted to add a postscript here if anybody googles this problem and winds up here–

The issue is if there are more than one artboard, or the artboard does not encompass all of the layers… The “HDTV 1080” preset on Illustrator CS6 seems to have TWO artboards for some reason. Remove one, leaving only the correct artboard, (#1) and then everything seems to work ok. Make sure all of your layers and objects are within the artboard.

Thanks for giving me enough pieces of the puzzle to figure it out guys!

[Cory Caplan]

I would bet that the GT120 is the issue here… FCP X loads some serious work to the GPU, I think, and that’s kind of an ‘entry level’ card… Even my earlier 4870 really gets dramatically better opencl benchmarks.. I think your machine works with the GTX 285 (or whatever that fast mac GTX card is…) That would probably give you a boost, I’d think…

[Cory Caplan]

Sorry I wasn’t more clear. I guess this isn’t “known” among as many people as I thought. It’s not ‘stock’ per se– It’s footage of the entire line of cars and depending ont the manufacturer, can be from 45 minutes to 3 hours worth of total footage. Each car in each configuration, sometimes in several different environments.. “City” “Snow” “Woods” “Mountains” depending on the make and year… They do it every year in august.

I just threw ‘HD Cam’ out there.. subsequently I found one manufacturer’s post house (usually this is arranged through a post house somewhere) who is now offerring it in SP, Digi, D5, D5 HD, and Prores (yea!?) except for the fact that the SP tape is $90/each for a dub and the prores dub of the same thing is $450! Good lord. I’m sure my dealership isn’t going to foot that bill..

[Cory Caplan]

Phil, I’ve been with Avid since 1997 and both since 2005, but when you say “better media management” (which is a drum I beat for a long time until the last couple years) What modern workflows are you talking about? Everything is shot on compressed media these days, and storage isn’t really an issue anymore, so why would you just not edit directly with the files? Do you really need proxy footage if FCP handles native footage well?

I’m playing devil’s advocate here.. in most of my other posts, you can see that I’m not super thrilled re: “pro” users.

And yes, Apple does completely have the audacity. They prove it time after time. And about 75% of the time, they’re right. (see iPhone, USB vs floppy, and I’m about to hand them digital video vs. bluray, based on my clients [lack of] requests for BR..)

[Cory Caplan]

Well, I really can see Apple’s point on this one– Audio mixing is a paradigm change from a track based system. I wouldn’t be surprised at all to see logic adopt a very similar interface, because for the most part, it will work very well (clip based, and then vertically) In either program, really, you can just “assign a clip to a submix/send/effects group/ whatever” if you need to. Change of habit? yes, but I don’t think it will add more time, and I think the time saved by not having to scroll up and down as much will be more than worth it in the Vertical

I don’t know whether submixes/sends/etc.. are implemented in FCPX, but it should be ASAP if its not.. I think this will reduce the tracks on something like logic and I will like it..

ie: Create a dialog send, music submix, fx send, and you can add effects to the each submix.. and that would work really well with this interface..

[Cory Caplan]

I’ve really taken some time to digest this. I think the timeline is a really mixed bag. Some things will work much better this way. Take for instance movie scenes. This is fantastic for that. Each scene is a unit, drag and drop, newly ordered.

Also the VERTICAL aspects of magnetic timeline are fantastic, and long needed. Best in class, for sure. The removal of a1 a2 is great. The audio features are sick.

The Horizontal paradigm, I’m not yet convinced. I think for many, many editors this will be a vast improvement, and I think for many of my jobs, this will be a just fine, but when I’m cutting things that are a matter of 1 frame adjustments, beats, time etc.. I think I’ll find it frustrating…

The one WAY overwhelming thing I’m at a loss to explain is things that are time driven. It seems like a nightmare to try to deliver a piece that has to fit an exact time like a TV Act or even a 30 second spot. It’s almost like they’re taking “time” out of the “timeline” in a way. I think that’s the takeaway for me– Some great tools for shows with no real time requirements, but could be frustrating when I’m editing something “to time”

I wonder how music video folks will like the magnetic timeline.. I guess when you cut something in, you have to manually “attach” each cut to the music track, so it doesn’t slide?

[Cory Caplan]

On the Livestream, the demo actually said “Final Cut TEN” I was pretty surprised. That’s some shady Microsoft Word for Windows “SIX” era stuff right there.

[Cory Caplan]

“For the record:
I am not seeing this on any hardware encoded h.264 content, regardless of the source, only in h.264 encodes in compressor. ”

Right, and that’s what (hopefully) we’ll be trying to get to the bottom of– That bug. Everyone: Yes, I know there’s an x264 workaround. Yes, I realize there are other ways of encoding h.264. I am trying to help Apple understand, acknowledge and fix this *bug*.

Thanks for the workarounds, I don’t need any. I just want to help this QT Engineer “get” this problem.

Thanks again.

[Cory Caplan]

Yikes $495 at Newegg, huh? Seems very cool, but I can’t lay out that much cash right now to fix a bug, you know?

[Cory Caplan]

Yes, actually I was on 2.2 before SL, because it’s closer to Video screens..

Anyway, although for me, it’s better in SL, compressor still generates a h.264 that’s off in hue and contrast slightly from the original. (For fun, I opened the original and the encode side-by-side and then tried all of the different color profiles. The two different windows change dramatically when you select different profiles, so obviously the “base data” is encoded very differently, and Apple is using the embedded profile to tell the OS how to display it– trouble is, it’s not “right” Doing a screencap on my calibrated profile gives me an image that is about 10% less saturated and the hue is about 2 degrees off, although the “gamma” seems right.

Furthermore, if you send it to a PC, it’s just like it always was– WAY washed out and totally wrong.

And I don’t know about you, but most of my clients are PC people, so they’re not seeing what’s right.