[Graham Spice]

I have not gotten the approval to purchase any of this. I haven’t seen anything released since that post that would change the equipment or software…have you? I am still hoping to implement something like this but expect the budget is 1+ years away…

[Graham Spice]

This is a good thread, thanks for setting all the information straight near the end.

Ideally, I’d like to utilize 3 fixed cameras and 1 pan/tilt/zoom cameras and live switch the event. Here’s a workflow I’ve been looking at, let me know what you think:

• Blackmagic ATEM Television Studio switcher ->
• Blackmagic Intensity Extreme Thunderbolt ->
• MBP with Thunderbolt running streaming server software (Livestream, ustream, FMLE, Telestream Wirecast, etc) ->
• streaming service (Livestream, ustream, justin.tv, etc)

Do you think I could use the same MBP to switch the ATEM TV Studio live and run the streaming software, also? I have a recent MBP 2.6GHz i7 with 8GB of RAM and Thunderbolt. Maybe it would be easier to have these two apps running on different machines…not sure about this.

I’m leaning towards the Wirecast program as it seems to receive pretty solid reviews compared to the software provided by the streaming services.

Anyone have any opinions on the softwares mentioned in the 3rd step or the services mentioned in the last step? I’m open to other suggestions, of course. Even though I couldn’t afford it, I’d love to hear what equipment the companies use that are streaming the major music festivals like Bonnaroo and Coachella…

[Graham Spice]

+1 for Screenflow – fantastic program

[Graham Spice]

I’m not using an external screen. According to Joe at Matrox Tech Support:

“Unfortunately at this time the answer is no; you can’t share a job between FCPX and Compressor 4 using Matrox MAX. The reason is that FCP X works very differently than FCP 7 and this feature could not be implemented.”

FCP X “Share Using Compressor Settings” @ Matrox MXO User Forum

[Graham Spice]

According to Matrox you can’t have both FCPX and Compressor open at the same time when using the MAX hardware compressor. I guess I’m asking anyone that uses FCPX with the Matrox MAX accelerator how they do it and if it is still faster?

[Graham Spice]

I’m having terrible slowness with the Compressor GUI. The window doesn’t update for minutes no matter what I try. I followed the directions in the link to trash the prefs, trash the Q-something queue, repaired my disk permissions and restarted…same impossibly slow GUI.

Did you ever find a fix?

[Graham Spice]

I’m also running into this problem with hour plus concert videos. I’m using Compressor to encode H.264 vids with Matrox MAX H.264 acceleration which is really nice on these long running times…but…the file size is huge, even with my SD video.

I’m not familiar with the other compression schemes that are mentioned here – how do these file sizes compare?

[Graham Spice]

I am also looking for a more standard audio fade than the 2 available in the “effects” tab but with the same ease of use. I’ll keep an eye on this thread to see if anyone has suggestions.

[Graham Spice]

Totally agree with everything you said. Video workflow, especially with Final Cut, is not user friendly (or should we say format friendly) at all. The number of road blocks that the average user will run into is staggering.

As a result of my poor experience with FCP, I feel that I should start looking for other video editor solutions that could be more flexible…especially with various video formats. Why do I need to know everything there is to know about codecs, interlacing, frame rates, pixel aspect ratios, etc when I just want to be creative? Bummer.

I come from a similar, hi-tech background and have been amazed at the difficulty that creating video with FCP has presented. I’m not afraid of learning new things and routinely am expected to overcome technical challenges but this is ludicrous!

[Graham Spice]

While the SoundDevices 722 does not support frame rates you can set the Record Sample Rate to some rather odd choices to this audio guy:

• 32k
• 44.1k
• 47.952k
• 47.952kF – file stamped at 48 kHz
• 48k
• 48.048k
• 48.048kF – file stamped at 48 kHz
• 88.2k
• 96k
• 96.096k
• 96.096kF – file stamped at 96 kHz
• 176.4k
• 192k

I’m assuming that these odd sampling frequencies are to help offset the decimal-heavy frame rates that you are talking about (29.97, etc).

The clip info in FCP for my clips are as follows:

Canon HV21: (.mov)
1440 x 1080, 29.97 fps, Apple ProRes 422 (transcoded upon L&T)
48 KHz 16-bit Integer audio

Flip Ultra HD: (.mp4)
1280 x 720, 29.97 fps, H.264 (raw file from camera)
44.1 KHz, 32-bit Floating Point

(I haven’t used the XL1S yet)