[Greg Janza]

And that’s what makes the Yedlin experiment so fascinating. Unless I’m misunderstanding his results, Yedlin proves without any doubt that there’s no way for the human eye to detect a difference in resolution quality at a certain point and that other factors that are non-resolution dependent have a much greater affect on the viewing experience. And that theory would hold true even if you scale up the screen from a television monitor to full on theatrical projection.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

I’m sure you’ll get a variety of good recommendations here and the Adobe Hardware Forum is also a great resource for computer setup recommendations.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Michael Gissing] “It’s a moot point for me. It’s just a matter of when.”

Did you watch the Yedlin videos?

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Oliver and Alan, thanks for posting the Yedlin videos. These two videos absolutely should be mandatory viewing for anyone working in the industry today.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

I’m currently in the middle of creating a tv show with a producer and she and I are working very well together remotely through skype. You’re already aware of the screen sharing function and when coupled with using headphones with a good microphone the dialogue we’re able to have while creating the rough cut each day is pretty much the same as if we were in the same room together.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Bill Davis] “See the widely published benchmarks for getting video work turned around on Macs running X
compared to PC hardware running — anything. “

Bill, if you have FCPX benchmarks that differ dramatically from the benchmark tests done in this obvious marketing video between a trashcan mac and a Z Workstation when using Premiere I’d be very interested to see those. The missing info in the video (overall specs, etc) doesn’t make it necessarily an objective piece but there’s plenty of benchmark tests out there that confirm this video’s test results. I know the optimized processing helps streamline FCPX overall but I’m not aware of benchmark tests that show a dramatically improved overall workflow speed difference with FCPX. I’m also curious to know how one would quantify the overall workflow speed.

https://youtu.be/33rfvP9OTKU

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

This is an excellent thread due to the fact that real world usage is being compared instead of opinions. thanks for sharing the info.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Bill Davis] “Will that sweet US gig go to a local US editor who currently CANNOT swing fluidly with FCP X – or will it just go to a talented editor from the Dominican Republic or Spain or Denmark – who are FCP X wizards – and for whom the client could care less – where they are sitting?”

I see no reason why our industry wouldn’t migrate towards a more global workforce. The Hollywood special effects industry has been a global workforce for years.

But you’re also throwing out the idea that post facilities or producers would be hiring these FCPX editors to create content and that doesn’t make much sense since FCPX has not made much progress in becoming the NLE of choice within the industry.

Whether there’s a “ton” of FCPX editors out there on a global scale is somewhat irrelevant if there aren’t a “ton” of FCPX post houses or FCPX minded producers.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

the preset DNX LB 1080p 23.976 which is located inside the DNxHD MXF OP1a preset folder is a good starting point. You’ll need to control click on it and create a new encoding preset with your 8 channels of audio selected , give it a name and save it. Then create a new ingest preset and under the transcode option you will then select your newly created encoding preset.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

While the lamenting of the FCPX rollout seems to never cease to be a topic of conversation here, the confusing aspect to me is why there’s so much nostalgia for FCP7. It certainly made its mark on the industry and I worked on it for years but I possess zero nostalgia for it. As soon as Premiere stepped in to take the lead, I dropped FCP. And now it’s been so many years It’s hard to even recall what was good about it.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles