[Fabrizio D’agnano]

Thank you Jeremy.
Where do I find the “pass through”? When I create the Compressor IMX setting I can’t find it in the audio options.
Regards

Fabrizio D’Agnano
Rome, Italy

[Fabrizio D’agnano]

I could export IMX 625/30Mbps PAL choosing 4.1 as an audio option from the Compressor settings sending the FCPX timeline. The destination channels play correctly following the roles I assigned in FCPX, I’ll see if it passes the Quality Check at the satellite channel, I guess it should. To see the four channels in FCPX I only found the way of breaking apart the clips items. Curious, while the whole clip is PAL 1080i, once broken apart, the audio tracks are labeled as NTSC 1080p and it seems I can’t modify them. I have to study some more to find a way to reverse the “break apart clips items” in case I need it. By the way, in these three or four days of getting acquainted to the new editor I met two complete crashes on my 2011 15″ MBP, maybe Compressor related or graphic card related, with the screen showing crazy lines and of course the MBP becoming irresponsive. Everything was back in place after the restart, however I had about the same number of crashes in the last two years and about 30 documentaries produced with the old FCP7 and SL. Also I had rare dropped frames during playback, but nothing serious.

Fabrizio D’Agnano
Rome, Italy

[Fabrizio D’agnano]

I use a more paranoid archive and storage setup.
Time machine backups system and FCP and Motion projects, (no media files but graphics or text I put into the project folder, no render files) onto an external FW hard disk box, on daily basis. When it’s almost full, I remove the HD, slip it into a cardboard box and into a drawer, and replace it with a new one (I don’t let TM erase old backups and build new ones with disk almost full, and I don’t trust external enclosures for heavy and long use of HD’s). I have a RAID 5 6TB NAS I use to store a copy or the raw footage, DMG’s of the cards named with date and place, “media managed” projects and HD QT files of each project I have delivered, complete with music bulletins, scripts, documents, licences and everything that goes with it. Then I have some more disks I store a redundant copy of the raw clips and DMG’s upon, numbered and dated progressively. One 1,5 TB can usually store one year of work. Older footage that does not need to stay on the RAID 5 array gets a second copy on one of the older Time machine disks that are no longer needed and lets free space on the NAS. So whatever disk or storage decides to abandon me, I can rebuild everything I need, present and past. For editing, I have four disks inside my Mac Pro, one for system and apps, one for scratch and export, and two in RAID 0 for the media used in current projects. I am not deep into FCPX yet, but it should not be much different ( I don’t think I would backup render files or whatever the app can rebuild starting from the original raw clips.

Fabrizio D’Agnano
Rome, Italy

[Fabrizio D’agnano]

OK, I found the old way is working on FCPX as well.
I imported a correct IMX with two stereo pairs file in the project event folder. I launched a new project with “automatic settings based on the first clip” and slipped the IMX clip in the timeline. Then I added the exported two stereo pairs ProRes file, assigned roles to the stereo pairs after detaching the audio channels and exported again choosing the IMX preset within FCPX. No need to fiddle with Compressor settings. The exported file is what I need, so far so good :-).

Thank you

Fabrizio D’Agnano
Rome, Italy

[Fabrizio D’agnano]

Thank you!
I could export the 4 audio tracks ProRes file. That worked great, more or less the same as it used to work on FCP7. On FCP7 I used to export a ProRes422 file just as well, slip it onto an IMX four channels sequence within FPC7 and export using current settings. it seems I can’t do it now within FCPX as I can’t find any IMX preset and I need to pass it to Compressor. Now I’m trying to find the settings on the new Compressor to get the IMX with 4 channels, so far I only got a stereo pair with full downmix.
Regards

Fabrizio D’Agnano
Rome, Italy

[Fabrizio D’agnano]

I still prefer FCP7 by far.
I bought, installed and updated FCPX from day 1 with great expetations, but so far I am still at a stage where I don’t think I can really start a real project with it yet. I haven’t spent a long time on it because I have to shoot, edit and deliver for a living so I don’t have much time left for getting acquainted with new things unless the current ones get obsolete or do not fulfill my needs. So I think if the interface and workflow had not changed so much it would have been a closer option. OK for the roles, OK for the Events, OK for a lot of other things, but an option for disabling the magnetic timeline, an option to view roles as tracks, an option to open previous FCP7 projects, a more elastic organization, an easier and more intuitive way to work with complex audio and a few apparently simple changes would have made it a much more natural step up instead of a leave that and take this no matter what your time is worth. I take it nobody really cared about this, and I guess it would have been a not so hard task for the developers, so as a professional long time customer I feel abandoned. I think I’ll stick to my two early 2008 Mac Pro, Snow Leopard, FCP7, intensity Pro that have proven to be rock solid and perfectly effective for my line of work so far for one more year or possibly two (the satellite tv channel I work for still have IMX PAL SD delivery standards). In the meantime I’ll give further tries on my MBP and iMac, upgrading the SW until it is free and not a new paid release. Then I’ll decide how to go on. I’d really really hate to go back to Windows, so if Apple gives me an opportunity not to abandon the ship, like a new Mac Pro and a few other things, I will gladly give them more of my hard earned money, otherwise I’ll swallow my tears and be forced to look somewhere else.

Fabrizio D’Agnano
Rome, Italy

[Fabrizio D’agnano]

I am experiencing what looks like the same problem. I run an early 2008 Mac Pro. On one partition I have FCP7 under Snow Leopard. On the other FCP X under Lion. The Intensity card is the same, HDMI output directed to an external full HD tv. When I play the timeline from the good old FCP7 everything is looking great, smooth, detailed, in other words perfect, while if I play it from FCP X the quality looks bad and the strobo effect is there as there was some problem with fields or fps, but both the clips and the project are 1080ì, 25FPS. So it does not look like it’s a monitor problem. Latest drivers from Blackmagic, updated OS. I bought the new editing sw as soon as it was on the Store, but so far I can’t still use it.
Regards
Fabrizio D’Agnano
Rome, Italy

Fabrizio D’Agnano
Rome, Italy

[Fabrizio D’agnano]

Thank you. So I gather it’s not a hidden feature, but really a missing one. This will help not loosing my self esteem about not being able to find it 🙂 I’ll then keep on logging and transferring in FCP7, and importing later in FCPX. Renaming in the event browser will not change the media file name. Maybe getting used with searching for files within FCPX profiting on its great data organizing, then using the “reveal in the Finder” command will eventually turn into a maybe more efficient way to work when looking for video files for use in different applications than just searching in the Finder checking the file names.
Fabrizio D’Agnano
Rome, Italy

Fabrizio D’Agnano
Rome, Italy

[Fabrizio D’agnano]

Thank you David.
The problem, however, is not with files imported from external or internal drives, as if I already “logged and transferred” or “logged and captured” them with FPC7 I already gave them a meaningful name before actually capturing, so the media file is named in a way I like from the moment of its creation. The problem is if I want to log and transfer from a card a file whose name on the card is file001 or such, naming it with something unique and meaningful so that it’s created with the name I’ve chosen. I used to be able to do it with all the editing system I used in the past, FCP7 included. If I slip a card into the reader and choose “import” I can’t find a way of doing so. FCPX will take care of that and name the clips with “2012.etc”. This way I can not catch a media file content outside of FCPX. If I have three cams covering an event, I’ll get file names that will now and then overlap and get confused if they are created with “2012-etc” and not “Cooking contest-interviews-rollA-clip 01”. The only way I have to be able to identify them outside FPCX seems to create an event for each roll. Renaming them (the media files, not the clips) after the capture would not be a great choice for many reasons, but for my workflow it would still be better than a numbers only naming. It seems so strange to me that this feature is not included that I am sure I am overlooking something, so that somewhere, possibly in the preferences or in some buried panel one can choose to use a different naming style for the media files like the inspector allows you to do for the clips.
Regards
Fabrizio

Fabrizio D’Agnano
Rome, Italy

[Fabrizio D’agnano]

It was the Role all right, thank you very much!
Fabrizio D’Agnano
Rome, Italy