[David Roth weiss]

Transcoding or creating proxies might seem like a simple computer task to you, but to your computer it’s far from simple, requiring lots of computational and processing power, and lots of hard drive throughout, so you’re doing double duty with your processors and hard drives, have the minimum amount of RAM installed, a single hard drive ( no raid), and yet you’re expecting to be able to do everything at once. Simply stated, your expectations are way too high.

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]

If you have any alternate takes or other material on any tracks that you’ve disabled, you should do a save as to create a new timeline, and then delete all that material, otherwise I can assure you that your XML will be problematic.

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]

Forget Dave’s part about transcoding for a minute, most of us already know that if you’re not keen on proxies, you’d not gonna be real keen on transcoding. ???? But, his question about “ fast storage” is possibly a very valid concern.
…
So, are you trying to edit off the boot drive of the new laptop? If so, that is a problem, even though it’s an SSD drive.

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]

Your initial concerns are 100% valid Drew. Telling the story once elegantly is tough enough, and time-consuming enough too, doing it twice simultaneously is going drive you completely insane. The only way I’d take that job is if they’d agree to let me spend my time cutting the English version, and then leaving the Hebrew version to an assistant or another editor to conform as best as possible to your cut.

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]

Good for you Harry! Is it still free?

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]

I think the best approach is a hybrid of both your ideas. Put your bars, tone, slate, and open in a timeline, and save that as a project labeled “Open Template.” Open the template, do as Save As calling that copy “episode x,” then edit that show to length, and insert your saved ending at the tail.

While Dave is correct that putting both the open and close in the saved template would be more trouble than it’s worth, saving your open as a template will be bulletproof and will provide consistency from show number one throughout the series.

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]

Dave,

What??? Are you aware that there are times when you know what you’re talking about but no one else does… this is one of those occasions.

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]

Export as a still sequence… Delete any corrupt frames… Import the still sequence and see what happens.

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]

This refers to old, inefficient codecs like uncompressed QT and others that are no longer used except by newbies and the like who don’t know better. It’s not like Adobe just up and decided to leave their long term subscribers out in the cold and unable to edit their older, previously edited products, like Apple did when they released FCPX, which couldn’t even open FCP Legacy project files.

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]

Resolve was a for most of its lifetime a $250,000 dedicated state of the art tool for professional color grading, now it’s much cheaper and has editing capabilities as well. So, while it’s still one of the best color grading apps on the market, it’s only better in the hands of trained users who know how to use the Resolve toolset properly. For most users the color tools in all of the major NLEs are plenty good enough.

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.