[Craig Seeman]

Can EVS handle ProRes? That’s what I’d recommend.

[Craig Seeman]

I think Barefeats just extended the life of some old MacPros for some people.

[Craig Seeman]

The hardest part is not knowing the future (isn’t it always).
I’m thinking 6 core and D500 with 512GB drive and minimum RAM (will buy elsewhere such as OWC).

My gut tells me I may be replacing it sooner than I’d like.
I don’t think I’ll be pushing the GPU hard enough to justify the D700 and by the time comes when I face such needs I may be looking at a new machine again.

I’d really have to be convinced that the D700 will have an immediate and significant benefit for my work. Maybe I’ll see such reports as people test the systems for those early deliveries.

[Craig Seeman]

[Roland Blaser] “Simply it’s not the business of a computer company to invent an editing philosophy that kills existing workflows (mostly audio tracks).”

Apple isn’t exclusively computer company. They dropped that from their name a few years back.
Apple the Software company offers an alternative to tracks with FCPX (LogicX still uses audio tracks).
PremierePro and Avid both run on Macs and both offer tracks. Apple didn’t kill tracks on their Computers. They still run with the software of your choice.

[Roland Blaser] “It is as arrogant as telling them as a broadcaster how to design their OS architecture. “

There’s no arrogance at all any more than Microsoft tells broadcaster how to design their OS architecture.
Apple makes and offering and the broadcaster has freedom of choice.

[Roland Blaser] “However it was easier to be a fanboy before Apple Computer became more or less an iCompany…”

The market seems to have a different opinion than you given how well those iOS devices sell and especially given how well FCPX seems to be doing for Apple… and it certainly looks to be gaining inroads into broadcast although it’s still early days.

I’d argue that because they are a much broader and larger company they are free to be more innovative. With innovation there’s risk (reduced given Apple’s diversity) but there can be great leaps forward and that’s where I think FCPX is going although it’s been a rough ride for some. No one has lost the Avid and PremierePro lifeboats though.

[Roland Blaser] “Will FCP 7 run on the new Mac Pro?”

I’m sure we’ll hear install reports. FCP7 certainly won’t show much advantage that the new OS and GPUs offer. I still see is as important if one needs to go from 7toX given the old project must be online as I understand it.

[Craig Seeman]

Sad though. I bought my EX1 from them and used to bring in my PD170 for maintenance there as well.

[Craig Seeman]

According to their facebook page
https://www.facebook.com/pages/Armatos-Visual-Equipment-Sales/100972144649
If you look at Posts from Others and read the Dec 16th post it seems they are closing.

[Craig Seeman]

[Tobias Heilmann-Schuricht] “gain, a complete, clean Mavericks install from scratch should do it, you would think?”
No. not if the issue isn’t OS related and I don’t think it is.

[Tobias Heilmann-Schuricht] “After that either Compressor will remain at the splash screen or the interface will come up, but all distorted…”

That sounds like it may be GPU related.
Try pulling one monitors and rebooting.

[Craig Seeman]

Converting can cause changes in levels. Some will use processing filters to compensate.

[Craig Seeman]

[Josh Beck] “does compressing down to 720 really give better quality?”

At the same bit rate, generally yes. More bits per pixel if you have fewer pixels.
720 at 5000kbps will look better than 1080 at 5000kbps.

[Craig Seeman]

What were your settings in Compressor besides bit rate.
Compressor 4.1 now has High Profile CABAC encoding which might make it a bit more efficient.
Also are you targeting 720p in your encodes instead of 1080?

Alternately you can use something like HandBrake
https://handbrake.fr
which uses x264 which is more efficient (better quality at lower bit rates) than Apple’s H.264.