[Greg Janza]

I use a simple naming convention of adding 1.0 to the end of my timeline name for first round, 2.0 for second round, etc. And if by chance I have to make a fix mid-round I change the suffix to 1.1, 2.1, 3.1, etc.

But what helps me more is to use frame.io for all client review. When I post round after round of revised versions I can stack those versions on top of each other on the frame.io site so the client can then easily see the latest (which is on top) and then all previous versions are available to look at as well and it’s simple to see their order because of the numeric labeling.

frame.io also allows you to split screen and watch two versions at the same time in sync so that it’s easy for a clinet to see what changes have occurred.

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

[Greg Janza]

It sure seems like criticism comes fast and furious in the online world so why even try to mitigate it? The responsibility for convincing the professional video world of the legitimacy of FCPX falls squarely and solely on Apple’s shoulders.

And I’d argue that Apple has a larger issue starting to brew within the professional video world which is the abandonment of Apple altogether due to the delayed release of hardware that entices professionals to stay “in the fold.”

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

[Greg Janza]

In general, it’s fun to read the many perspectives on FCPX and see that for many folks it’s been a very successful NLE solution for them.

However, if any of the estimations of user numbers are to be trusted, the NLE marketplace is currently dominated by Adobe CC and FCPX is a niche player much like Media100 was many moons ago. So with lower numbers of users it would then make sense that there’d be a reduced number of forum posts overall.

There may also just be FCPX debate fatigue. I don’t think most folks here are considering moving from one system to another since it’s now been several years since the issue arose. The sifting out of the marketplace has happened and people have their tools and everyone seems to be doing well with whichever system they have chosen.

Personally I just like to keep up on new developments within each of the major NLE’s. But without the acknowledgment that each system has it’s merits and that each will serve an editor well the conversation gets dull quickly.

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

[Greg Janza]

Are you trying to import the transferred files after they go through ShotPut Pro? If so, maybe there’s an issue with ShotPut Pro.

I work with a lot of Sony FS7 files and so far I’ve never run into any importing issues within PP but I also don’t use any specialty software to copy the Sony folder structure from one location to another.

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

[Greg Janza]

[Andrew Kimery] “I can envision this being a potential headache for any scenario where drives are being sent around”

I completely agree. Most of my work comes to me on shipped drives that have originated on a wide variety of systems. The notion of a drive not mounting due to lack of OS compatibility used to solely be an issue in Windows but even that’s gone away.

But like with so many things Apple, hopefully if there is compatibility issues, a third party company like Tuxera will offer up a fix to save the day.

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

[Greg Janza]

Classic Apple move.

Here’s my favorite line from the fcp.co post:
“For example, a USB storage device formatted as APFS can be read by a Mac using High Sierra, but not by a Mac using Sierra or earlier.”

Apple, creating the need for third-party software developers since 1976.

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

[Greg Janza]

If all of that material is 4k you’re going to need a much faster computer. mp4 is especially cpu intensive. Without a fast CPU, powerful GPU, fast drives and a solid amount of ram there’s no easy way to look at raw footage these days.

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

[Greg Janza]

[Scott Witthaus] “Key word is “was”. Why emulate that?”

The downfall of Avid is all related to the company not being forward thinking. They stubbornly stuck with the proprietary architecture for far too long and by the time they realized their mistake it was too late.

I too spent many years cutting on Avid and I also owe my entire career to Avid. In addition, I worked primarily in Avid shared environments. It needs to be emphasized that the shared edit environment is incredibly efficient. I no longer work on Avid at all but it’s design should be emulated.

Personally, I could cut ridiculously fast on an Avid because of it’s phenomenal keyboard layout that was so highly customizable. The Avid engineers built a product that worked extremely well for any user. Premiere Pro and FCPX have adopted those customization options but so far it ain’t the same.

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

[Greg Janza]

[Dave LaRonde] “Helluva way to run a business, right?”

Adobe is now king of the hill so we’re a bit at their mercy. However, I’m not really complaining all that much because the customer base is getting a helluva good product for that nominal yearly fee.

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

[Greg Janza]

I do like the new title tool.

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