[David Roth weiss]

There are no unprofessional NLEs.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Mike,

The GPU is the easy part, just get any GTX Titan or 980ti that you can afford (or get multiples as Theo mentions) – the’GTX cards are simply the most powerful and least expensive of the GPUs, and an easy pick. Which ever you can afford that’s 6Gb or over will work just fine.

However, whether a single i7 processor will suffice is more difficult to say, especially as you have not specified the 4K codec you’re hoping to playback seamlessly. Every codec is different my friend, some easy and less computationally demanding, while others are much more difficult and processor intensive.

And, for the record, SDDs are not the ideal solution for video storage you and many others think they may be, for a number of reasons few know about. If your business is going to depend upon a seamless 4K workflow, you’ll need to bite the bullet and invest in an 8-drive RAID with spinning disks. For the record, SSDs are rated and priced by two primary factors: 1) the number of terabytes of data moved on and off the drive before they start to lose performance; and, 2) the amount of overprovisioning, which is how many extra gigabytes are actually given to you onboard to accommodate for memory cells that go bad over time. Both of the above indicate that SDDs are currently great for use as boot drives, but not good investments for video storage, as moving massive data on and off the drives means those very expensive drives will die long before your return on investment will pay off.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Oh! Okay Jim, I get it now… It’s okay to debate here on the debate forum so long as I agree with you, otherwise I need to leave. I’m glad you explained that.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Here we go again, if you don’t like FCP X there’s clearly something wrong or broken with you. In this case the entire US movie industry is just plain wrong, but the industry everywhere else has, based solely on this report, clearly got things figured out properly.

Bill, if you had simply reported the facts and left out your editorializing this story would have had at least some meaning. Now it’s just another story about you and your opinions of all who don’t agree with you.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Thanks for keeping us posted with the latest news Kevin. I’ll bet those folks on the other “A” forums wish their manufacturers rep would keep tabs on their welfare. 🙂

BTW, while I’m certainly no expert on the “underpinnings” of OS X , El Capitan doesn’t seem like such a huge update to me. So, anyone willing to risk their business by upgrading without making a protection clone first, is not making very wise business decision.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

You could export an EDL (edit decision list) and peruse that… An EDL lists all “events” or edits, numbers them, and lists starting timecode, ending timecode, and the duration of each shot.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Just go for it… It’s pretty automatic. I did an XML export and import from FCP 7 last week with nearly perfect fidelity – a few audio clips translated shorter in Premiere than they should have, but all else was perfect.

If you have any specific questions about where to find XML import/export, or how it works, just search Adobe’s excellent Help function, it’ll certainly point you in the right direction and to the right places.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

You can send him your projects and he can open them, but as with almost every app around, you cannot open projects from a more modern version of the app in your older version.

The only way you can successfully collaborate would be for your friend to send you an XML, and that may or may not have perfect fidelity, depending on applied effects, and the complexity of the project.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Editing at zero-crossing points is the only way to achieve a perfect audio edit. While editing audio at the frame level can be fudged in many cases by adding cross dissolves, that’s not granular enough for all audio edits, especially when editing music and audio with quiet passages.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[David Lawrence] ”
In Premiere, you can edit audio at the sample level, i.e. you can make one sample audio edits.
“

You won’t hear those 1 sample edits, but it’s very cool to know that the capability is there to edit at the highest level of granularity right on the timeline.

No matter how you slice it, in any objective appraisal, this implementation is pretty much what you’d find on any editor’s wishlist. In my opinion, it’s the correct way to implement sub-frame audio editing.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.