Darren Roark
Forum Replies Created
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It is fast, reliable, and P2P (no cloud server) is needed. We never had an issue, we never lost data, we never had a corrupted project. And it is not expensive.
I have AT&T fiber 1gig as of November, 950Mbp/s up and down. Some of the file transfer solutions mentioned cap out around 100Mbp/s which is why I was looking for P2P solutions with end to end encryption.
That and I don’t like the idea of a 3rd party having access to my files. (Zoom was recently called out on this)
If this does fall within the guidelines of MPAA compliance this could be a great solve.
I’m assuming you don’t need to upload files before another user downloads them correct? That alone would be a huge time savings.
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[Shane Ross] “I have never heard of people editing the way he describes. “
Agreed.
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[Oliver Peters] “They seem to be more than happy to use the publicity when it’s there ☺”
My suspicions are that even if the Deadpool folks did choose FCP X over Premiere, (or Avid for the sequel as it is) they probably wouldn’t be trumpeting that as Deadpool would seem a bit out of place to co-promote Apple products due to the nature of the content.
A film I helped out on during the “pre library” days of FCPX called “Starry Eyes” had a theatrical run before Focus, so it was technically the first feature cut in FCP X that received an official theatrical release.
Focus was the first major release, it had huge movie stars in it and was an all in all slick endeavor.
If you like smart horror films, it’s a great film, made it to the top ten on Netflix for a time, not just horror, but all of Netflix.
I suppose they have to be picky.
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Essentially since the mics were labeled from production and then appeared as labeled tracks in PT they were confident that they had much less work to do.
As indie rates require more flex time, the fact it arrived in good order they were comfortable with waiting.
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[Shane Ross] “I doubt that it happened in FCX on that feature. Unless that is one of those details that saved money…no ProTools or LogicPro or DAW mix…
“We needed more time in editorial so I did a test turnover to the mixer so he would be comfortable with less lead time to prep the mix. That bought us a couple weeks.
Similar situation with color.
However, Runway unlike many large scale places has a pathway to ingest footage in Resolve from a drive rather than their server.
For v12 of Resolve (and so far v14) this was extremely important as the sync’d ‘container clips’ need to be in their original directory structure for the XML import to work smoothly.
Most places require the footage to be put on their server first which leads to the relinking nightmare.
The main thing was Runway was great to deal with in that way where as long as it would work the way I said it would, they were on board.
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[Charlie Austin] “he’s probably not up for the arguments that would erupt”
You mean the arguments that have erupted right?
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[Shane Ross] “What specifically did you avoid spending money on that you would have been “required” to with the other NLEs? “
Labor.
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[Charlie Austin] “I’ll see if Darren wants to pop in and add some details”
Such as?
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[Oliver Peters] “it reads to me like the bulk of savings was because they shot on RED and handled the process of the files directly.”
This is what got the ball rolling as even the very generous bid from Runway to do an Avid prep was still unaffordable for this production.
I had worked on another feature with the same editor who had been hired which is how I got in the mix so having an editor who already knew the system was key. I believe Michael is going to do a piece interviewing her as well.
Two clicks to transcode, then running it overnight, then the drive would get couriered to the editor’s house where she worked.
[Oliver Peters] “The indie world has been handling it directly for years. From that POV, any NLE works.”
Where Red is concerned, Avid works, and makes you do a lot of work.
I was a bit shocked when I found out years ago that assistant editors don’t handle any of the transcoding/syncing on studio shows.
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[Shane Ross] “It’s close, but yeah, it takes a lot of metadata management to do it right. I’ve had it done wrong too, and man, 80% of the film didn’t relink properly. AVCHD formats and ANY camera that will repeat tapeless media naming when you change cards is a BIG issue.”
That hasn’t been my experience since v11. Photos, yes those are a huge pain and are just now working in the v14 beta, somewhat anyway.
As long as the media managed drive that the FCPXML is pointing to is used when importing into Resolve it’s seamless (except stills).
Whenever the finishing place copies it from that drive to their storage first is where the problems happen. As long as they media manage to their system from Resolve after the timeline is imported it works without issue.