Darren Roark
Forum Replies Created
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Yes, that is the new deal. FCPX embeds metadata in all the files, if anything changes it won’t relink. Final Cut 7 is project file based, where X is a database.
In some instances you can trick it into manually relinking some file formats, as long as all the attributes are identical. This was one of the biggest hurdles in making the transition for me. I have also made the mistake of taking a timeline into After Effects without telling After Effects not to embed their own metadata. This will also stop FCPX from welcoming back the footage.
The one advantage I have found is that I no longer accidentally relink to the wrong version of a GFX element. When the client keeps changing things fast and furious, it a good safeguard.
Apple should put in a feature like Adobe’s “Replace Footage”. Then it can nag you about all the things wrong with it, and you can just keep a clickin’ yes.
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I agree with Lance. Most of the horsepower is going away from the CPU and going to the GPU. CUDA for Premiere and After Effects, OpenCL for FCP X, and so on.
If you have an older Mac Pro, there are many off the shelf PC CUDA cards that can be used out of the box in Mountain Lion. You will want a single slot Mac friendly GPU in another slot to get the happy apple white screen at boot, but it’s really handy for Resolve to have dual GPUs anyway. If you put a GTX 670 in an older Mac Pro, it will breathe new life into it using applications that take advantage of OpenCL and CUDA.
I have a similar setup to the “CustoMac Pro” here: https://www.tonymacx86.com/333-building-customac-buyer-s-guide-february-2013.html That prices out to just over $1300.00 if you opt for the GTX 670. Monoprice is selling 27″ displays with the same panel that Apple uses for less than $400.
I have an NVIDIA GTX 570 in my home built tower. The processor is the Intel Core i7-3770K, and I have 32GB of RAM. I get a Geekbench Score of around 14,500ish. Lastly, it has two Thunderbolt Ports. (They work great minus hot swap)
So for $1700 you can build a much more powerful workstation than the iMac (and some current model Mac Pros) that can be upgraded, can hold internal Kona or BM cards, and not break the bank.
The only downside I have found is in order to update the OS, I need to clone the boot SSD to another drive until I can be sure everything is working. In reality, this should be done anyway, it’s not that much different than updating OS X back in the day with real macs!
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Yes! They do in fact. The only issue is no hot swap. Since the system boots in 30 seconds, it’s not a problem.
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Bernard was pointing out the alternative. Other than the slightly less legal aspect of buying OS X and installing it on non Apple hardware, I have had no problems with my “Hack Pro”. It stomps the 2008 Mac Pro I had. Side note, I sold the Mac Pro for twice what this one cost to build.
And it works amazingly with Final Cut Pro X. (It has two Thunderbolt ports!)
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I completely agree, now when I work with others in track based/bin based workflow it’s crazymaking. I didn’t truly realize the speed benefits of X until I had to go back. It was infuriating at first to learn, but I do like it better.
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Yes! I forgot about that issue with certain files from older projects doing this after updating. In my case, this project started around 10.0.2 so it has many issues from all the different versions of FCPX putting metadata cooties in the files.
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Eugene Mirman has a great comedy album called God Is a Twelve-Year-Old Boy with Asperger’s. I also think the same can be said for FCP X.
I have been dealing with fixing a huge mess of a project, thousands of shots, stills, ‘untitled shots’ for a doc. All the frustrating “the clips do not share the same media range, the frame rates are different, nah nah nah nah!” Often this is just trying to relink the exact file! This issue has come up many times for me as well, and I think I have at least an idea some of the reasons this happens.
-When media gets imported or moved FCPX doesn’t get the opportunity to ‘bless’ the media with the metadata if it is suddenly shut down. I have gotten into the habit of hitting “organize event files” before I quit working. It has stopped a lot of these shenanigans.
– Another issue is conformed media from Cinema Tools really throws it for a loop. I have had many problems with slomo footage that was conformed to 23.98. I have been retiming them on the timeline which has stopped the black shots from happening.
– Corrupt media. I have used the corrupt clip finder from Digital Rebellion and in most cases, it’s able to detect the clips that show up as black. FCPX seems to be completely unforgiving of anything being off by even a little bit.
As much as I love this software, the inability to override all the irritating warnings that come up really rubs me raw. But then I try track based editing again and I forgive.
John’s technique works, it’s the only way at this point until Apple installs the “trust me, I know what I am doing button”. John’s very informative video on shared storage convinced me to start using sparse disk images. Since doing that, I have had no new problems whatsoever.
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This is a great workflow idea. I was able to tackle one of the lesser reels in just over an hour. One down seven to go.
Thanks so much for your help!
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That might just be a great solution! The main issue is the story is going through a recut and not having the camera files on the timeline is difficult for the editor who is used to doing everything on timelines. (He has never used a bin in his 15 year career!)
But this may be a good compromise. At least he can have those timelines as well.
Great idea.
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It’s now confusing even me. Let’s say for ease, there are ten edited timelines that were exported as self contained clips. Then those ten timelines were brought back to FCPX and chopped up to make a new project.
I have then went back to those ten timelines projects that reference the original camera files and created compound clips that are identical to their self contained rendered counterparts.
The need is in order to finish this film I need to have a timeline that is linked to the original camera files. (They rendered out h.264s with temp color corrections >:(
Yes, it’s a mess, and I will have to replace them shot by shot. With 1000+ cuts it’s going to be no fun.