Franz Bieberkopf
Forum Replies Created
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[Andrew Kimery] “So if you find yourself in a situation where, for whatever reason, the Creative Cloud suite is obviously the best tool for the job …”
Andrew,
There seems to be a general assumption here that ownership model isn’t part of the question of which tool is best.
Franz.
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[James Ewart] “What sort of duration is each sequence out of interest?”
James,
Source sequences will be anything from 10mins to 6 hours or more depending on the shoots.
Selects and collection sequences vary as well, really anything from 10mins to a couple hours or more.
Cuts vary depending on the stage, but again 10mins to maybe half hour or hour so for assemblies, and full cuts ranging from about 3 hours down to 90 mins or so.
Franz.
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[Steve Connor] “I genuinely can’t understand why people are denying themselves a suite of very useful tools, just because it’s subscription only.”
Steve,
Why don’t you ask them?
Franz.
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[James Ewart] “But that can’t be true surely.”
James,
It’s true. You’d have to start a new subscription to open old projects.
Franz.
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[Jeremy Garchow] “Any NLE will be very slow with 10000 sequences, wouldn’t you think?”
Jeremy,
Yes. At some point. That’s why I’m surprised by the claim that FCP X doesn’t have these limitations. You seem defensive that I would question it, but seem to agree it’s a questionable claim.
[Jeremy Garchow] “The Tour de France article is pretty good proof that X can handle lots and lots of media”
Media and sequences are different things. Sequences seem to be more taxing on any given NLE. I suspect it’s ultimately harder to quantify, which is why it’s good to get reports from the field.
Defensiveness about your chosen NLE aside, I’m just asking for experiences with large numbers of sequences.
Whenever I ask about this I typically get answers about vast amounts of media (in which I’m also interested) and little about sequences.
(Example)
https://forums.creativecow.net/readpost/335/71327[Jeremy Garchow] “I, personally, have only gone up to just under 100 Projects in a single Library in X, and I didn’t notice any system hang ups. … the library takes a little longer to open, but that’s about it.”
A number! An experience! Thanks. This is helpful.
It’s also lower than the typical number of sequences I have in any given project, but it’s a data point.
Franz.
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[Jeremy Garchow] “Can FCP7 handle 10000 sequences?”
Jeremy,
I haven’t seen anyone claim that it can. I certainly don’t make any such claim (though I’ve never tried).
Bill, on the other hand, claims theres no limit in FCP X.
[Bill Davis] “… the number of them really will have little or no impact on system performance.”
Franz.
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[tony west] “Yeah, this is the part that matter to me”
Tony,
Yes. This was my point.
There is a difference between talking about features that matter to you and claiming that 32 bit software is more costly to producers.
The first is useful to discuss the benefits or drawbacks of various NLEs. The second is obfuscation, and in the case of FCP 7 stills functions, wrong.
Franz.
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[Bill Davis] “the number of them really will have little or no impact on system performance.”
Bill,
… so 10,000 sequences, for example. No problem?
Franz.
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[Charlie Austin] “All due respect, in my opinion as a former mixer… not really. Unless you mean getting a good temp mix. 🙂 There isn’t an NLE on the planet, with or without faders, that I’d use for a final mix.”
Charlie,
Yes. Getting a good temp mix. (Or further sometimes.)
In the same way that an NLE has to get good temp colour. (Or further sometimes.)
… or good temp graphics. (Or further sometimes.)
… etc.
Franz.
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[Andrew Kimery] “Audio mixing, color correction, compositing, motion gfx, etc., can all be handled by outside applications or augmented by 3rd party plugins if what’s offered by the NLE isn’t strong enough but the same can’t be said when it’s an editing feature/function that’s lacking.”
Andrew,
Mixing is editing.
Franz.