Darren Roark
Forum Replies Created
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I think you are misunderstanding the point.
According to them they DID pay their bills and it was a mistake on Apple’s part who are taking a whole day to fix it. The company is based in the U.K. and they were gone for the day.
The support person here in the US who isn’t himself a developer found an installer to give me. It suckerpunched my working LE version.
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I did try logging out and back. This was their version for internal use so it was tied to one of their testing accounts. Since they are based in London and the man who works for them here isn’t a technical person, he had no way to send a version that worked for me.
Yes, the MAS is totally flawed for Pro use. In order to offer updates every app has to go through the sometimes month long approval process. Whenever a new issue comes up, you have to wait for that long sometimes if you upgraded. (I know, I should have backed up my working copy of X2Pro LE)
Whenever possible I always buy from the developer. In this case it’s the only way available.
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The fact is, if they are telling the truth, which I am inclined to believe the developer, as I have read other instances of other developers having similar things happen. They paid their dues, Apple corrected the mistake, but it will take a day to come back to the App Store.
This wasn’t a server catastrophe, this was just the bill collecting computer doing it’s thing, and their unwillingness to expedite fixing the problem. Apple gets 30% off the top of every $150 sale. This was over the $99 yearly developer dues.
These people make a major function missing from FCPX possible. It’s truly frustrating that they can’t see that cutting off apps that directly add essential functionality to their key editing software will also affect their customers.
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I ended up building a hackintosh in September of 11′. I had an ATI gpu which ran FCPX great. Then I recently upgraded to a GeForce GTX 570 which really made a difference.
I spent just over $1,000.00 to have an i7 quad core processor and 16gb of ram. It even has a Blu-Ray burner.
The only time I have ever had any downtime is when I upgraded a version of Lion before doing the cardinal rule of hackintoshing, clone your boot drive first. Other than that, it has been just as stable as my aging 2007 Mac Pro and over twice as fast.
You can put PC Nvidia cards in to mac pros to give them CUDA.
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I agree. I am running a hackintosh i7 3.4ghz with the Radeon 6850 and it runs circles around my Mac Pro 8core with the 8800GT.
I’m using a BM Intensity Pro as well with no issue.
My MBP 2.2 2011 feels about the same. as the hackintosh. However I haven’t had an I/O device plugged in.
(Side note: I’d be happy to buy a new mac pro if they would ya know, make one…)
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I think I have a better grip on what’s going on with your issue now.
You should make yourself familiar with codecs and container files. Anything you bring into a NLE should have been transcoded to something that has a proper framerate cadence. Final Cut Pro X has a way of adjusting framerates of mixed source material but not if they are end user viewing codecs/wrappers.
That said, what I meant was, you should always work with a project that has the highest framerate of your clips. IE if that is 29.97 then that is what the project should be. In some cases that would actually be 59.97 if for example you were working with HDV 1080i.
The easiest way to do this in X is, make a project, then put any clip that has the highest frame rate in the project, then you can ad the lesser frame rate clips and FCPX will adjust them automatically.
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The jittery and less than stellar motion you are seeing is due to some of your source material is at 29.97. If you have footage that was shot 23.98 with a pulldown, adding that 29.97 footage to a 23.98 will remove frames every second you would normally want.
Hopefully that explains it. In other words, stick to 29.97 if you have anything with that frame rate. It will look the same on a dvd but without the stuttery video.
I would invest in Cinematize for ripping clips off of dvds. It’s really simple to use and converts directly to prores at proper framrates. It even makes files with the correct aspect ratio automatically.
I found this here:
https://help.apple.com/finalcutpro/mac/10.0.4/
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It’s true, the term ‘haters’ could set off a full scale east coast vs west coast hip hop situation!
I haven’t posted on here for a couple years but I’ve been trying to figure out why every time I tell a colleague I really like X the same scowl and shaking of heads immediately follows. The conversation really can’t continue without both parties having an open mind.
It puts everything at a disadvantage. I know in my case I had to learn FCP after knowing Avid, eventually I liked it better but it was tough! Less hoops to jump through, which is why I have grown to like X so much. It took three days of several hours and repeating tutorials in order to start to even do anything in it. I had to put in the work to learn it in order to make up my own mind. It really is a rethinking of everything that had become habit.
I was doing the finishing on a feature when X dropped and no update to FCP7. Initially I was pretty miffed, 32bit really sucks when you are on a 12 core mac pro monster using a quarter of it’s abilities. I fired up FCPX tried it out for an hour, said #%@* this and put it away until I had a personal project. FCP7 did and still does what it always did. But the more and more I used FCPX without the pressure of a deadline, the more I grew to like it. No more transcoding to prores, bins already made on ingest, no more making sure I have my tracks laid out for protools, I could go on, but I have to say it’s a pretty great leap forward from FCP7 since it’s been updated.
As for last summer, the feature was sold and now I’m generating 1080p 5.1 deliverables to go to HDCAMSR using roles, it’s been much easier. Had the FCPX/Resolve workflow been around when it was being finished, it would have been much less work.
Avid and CS# have their place, I think whatever tools an individual artist works best with is great. I just hope that rather than referring to people in the discussion as haters or fanboys we can ask ourselves if we have given it an honest try before dismissing something completely.
p.s. my intensity pro card on my home setup on X is working better than it does in 7. I feel like it’s almost ready for primetime.
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I couldn’t agree more with everything you said.
My main point is that as soon as clients know what is possible to pull off with less people that becomes the norm. Having to shoot and pay attention to the sound at the same time means at least one of those two jobs suffers.
I guess my point is that the dslr style cameras vs an all in one is that they are different tools for very different jobs. When I make a short film, having sound attached to the camera is more of a burden. Being able to move the camera without having a cable puller is a good thing.
That said, eng style shooting and editing which is still a great deal of my income I prefer an all in one as Bob stated in the interview.
I know I’m off topic for the thread so I’ll say something regarding his comment “the demise of FCP” that is the second thing I disagreed with. I think he meant fall from grace. I have to say, I started on avid, switched to fcp, and now I really like FCPX and I can’t go back. Except for native red support which is coming, I can do everything much faster. (I say this after I spent three days punching the wall getting used to the magnetic timeline) I will give Premiere CS6 a try, but I think fcpx is the direction it’s all heading.
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It’s always a pleasure to get Bob’s take on things. He really knows how to get to the point!
There is only one thing I disagree with is that people want an all in one camera. I don’t miss that at all.
I think it’s much better to record dual system audio. Yes it’s an added step in post but the benefits of using a dedicated recorder with no wires or receivers hooked up to the camera gets better results. After all, a film camera doesn’t have an audio input. (usually)
For many things like reality and doc shooting an all in one is the best. But the small box with lens mount is the future. It opens up so many possibilities to make better narrative projects using lightweight portable support gear. I think this accidental trend is here to stay.