Darren Roark
Forum Replies Created
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[Michael Gissing] “Either. OMF is still useful and in many ways more stable. It is my preferred deliverable before I start sound post. Collaborative workflows are still relevant in 2015, just like they were in 2005.”
In what cases does an OMF work out better than an AAF? I want to know what to look out for.
The indie features I’ve had to ‘post supervise’* that were cut in X, AAFs have saved a lot of time in the sound design/mix being able to preserve more of the sound design work the editor performed. Aside from some oddball audio formats that had to be sorted, as long as the roles were set on import XtoPro has worked without issue with a lot less work prepping for the mix.
*(I say this lightly as I come in at the end and deliver the cut to sound and color finishing usually with a lot of having to fix non specific to any NLE workflow issues.)
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[Bill Davis] “[Andrew Kimery] “[Darren Roark] “Premiere is getting good, but it is still far behind FCP 7 in many ways.”
So is X. ;)””
I’m in the hated it the first six months, love it now category.
At this point over three and a half years running, what can’t you do in FCP X that you can do in 7 that is actually necessary? Batch export has been a big one which is now possible by the 3rd party dev app called Primaries. Gang sync? I barely ever used it in 7 so I don’t miss it.
I’m including the 3d party apps which have been working great because they can address professional level problems quickly whereas waiting for Adobe or Avid to push out a software update to the all in oneness of their NLEs.
Bill brings up OMF support, when I am asked by post supervisors for them I have to act like google search and say “did you mean AAF?”
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Editing and playing back 6K Dragon footage without transcoding to a 4K monitor and having it look sharp and stunning demos extremely well.
It’s worth mentioning that Apple doesn’t show up at any trade shows and hold public events for any of their software, not for ten years or so.
It makes sense that FCP X exists only as a motivator to buy Macs. If they didn’t offer a pro video app that pushes the limits of their top end machines, they would be depending on 3rd party companies to make their pro hardware products shine.
Does Avid still not have GPU acceleration yet after the 8.3 release? I don’t think so. Premiere is getting good, but it is still far behind FCP 7 in many ways.
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Aperture doesn’t sell Macs anymore because you need a faster one to run it well. FCP X caused me to go all in on a very expensive high end new(ish) Mac Pro.
Considering they just bought a $1,000 per seat MXF plugin and rolled it into FCP X, I’d say everyone is safe for a while.
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It did make me buy a very expensive Mac Pro though!
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Hi Timothy, you are coming at this from a fair and reasonable point of view. You are actually the exception to what I’ve experienced.
I agree that most editors, even the ones who make the “what smells in here” face when FCP X is mentioned would learn it and use it if it meant getting a job or not. (Just not without protest!)
My point is that once word gets out how much faster a film can be prepped for the edit and sent to finishing*, (Red esp) that’s what will start the demand to rise.
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I was working with a producer recently recutting a film that was done in FCP X. It’s a horror film with a massive thirty sfx/music tracks going at times.
After his experience with it and how much time and money he saved he doesn’t want to work with editors who won’t use it.
Rereading the “Cold Mountain” book now, there were so many legitimate reasons to stay far away from FCP 3-4 for features. It started to take off because it was inexpensive and didn’t require extra hardware on top of the computer to run.
It’s the people who write the checks who will ultimately make the transition happen.
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If you need to go to Protools even a few times a year, it’s worth every penny for how much time it saves.
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As I am unfamiliar with Chronosync, you may be on to something there as I have had some screwy behavior with some cloning problems and metadata.
What I would try is making a new library, set your prefs to “Leave files in place”, then import the r3d files into it. Then try drag your project into that library. If that works, then just drag your events over as well. There is something to do with the way Red files behave with the Red Apple Workflow plugin that makes normal relinking a pain.
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I think I remember around the time Apple bought Final Cut from Macromedia Avid made a statement about how similar the interface was and that the naming of projects and timelines were a copyright infringement. They didn’t end up suing.
Macromedia chose the terms used in FCP, so it may have been difficult to sue Apple for something they didn’t do themselves. Is it possible that they had to rename everything in FCP X as to not violate the copyright as this is the version that is completely Apple created?
Now I must watch Sleepy Hollow..