[Herb Sevush]

[Marcus Moore] ” there’s a large market still waiting on be captured. Those people are holding on for any number of reasons- money, time investment, personal preference…”

This is a subject worth more discussion:

Why are so many editors holding on to Legacy for so long when there are so many other options available?

Remember that Apple hadn’t really upgraded Legacy itself since FCP6, which was releaed in 2007, over 6 years ago, which seems a lifetime ago technologically. The DSLR revolution hadn’t gotten underway yet, 4K was unimaginable, 3D hadn’t yet come and gone. So why in a technological field like video, where camera’s seem to come and go every 2 years, are so many holding onto such antiquated software?

The answer can’t have anything to do with any singular features of FCP Legacy itself since the same thing can be said of Avid systems, where many users haven’t upgraded in a similar span of time.

Are most editors simply befuddled curmudgeons, as Bill Davis has often implied, terrified of change and holding onto the past? If so what characteristics of editors make them behave so differently from DP’s, who seem to embrace change with every new sensor release? Or is there something intrinsic to the field of editing that accounts for such behavior? Or is it simply that the old tools were actually quite advanced and adequate for many workflows and the inefficiency of change for change sake has been properly accounted for?

Until you can come to some reasonable conclusion about these questions I doubt you’ll have any real idea of what the future market prospects for any NLE might be.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Baz Leffler] “Am I old fashion?”

Yes.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Bill Davis] “So that user created and user managed storage space is ALWAYS visible no matter WHERE you are in X. It’s every bit as visible as a folder. BUT unlike a folder, it NEVER dissapperas no matter what Project or Event you happen to be in at the time. “

Which is wonderful when your talking about media. Very valuable. I have a standard folder I call “Generic”, which has my basic music stings, graphics, and even gradients, that I import into all of my projects in legacy, this would be a much better way of dealing with it as updating it once would update it for everything.

I get that and I appreciate that.

But this thread is about “favorite effects” folders, which in Legacy, and most NLEs, also never disappears and is available all the time. It appears that while there are some work arounds that handle some of this, there is nothing in FCPX that matches the simple efficiency of a favorite effects folder, especially for audio. Not a big deal, but a minor annoyance that hopefully will be addressed soon.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Bill Davis] “So what’s the point of an “effects folder””

Speed. My Legacy Favorite Effects folder has a space on my desktop and is always visible. If I need one of the 14 or so effects I use very frequently I simply drag and drop it on a clip. If I first had to do a search to find that effect, then that would slow me down dramatically, which is the beauty of a specific “favorite effects” folder. Being totally ignorant of X, but listening to what other users are asking for I assume putting effects onto dummy media and storing it in an event (which I believe is what you are describing) is not as fast, or is it? Just asking, no agenda.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

So I assume your saying yes to the original question, even though you are describing a media folder and the original poster was talking about an effects folder?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Jeremy Garchow] “you simply rewrap and transfer at the same time. “

Yes, my material is dumped to portable drives at the studio in Boston and then transferred to my raids in NY when we’re finished shooting. It takes days to transfer across using firewire 800. I should probably just act like a grown up and test to see how much time it actually takes to re-wrap and transfer at the same time, although I’m not sure how to accomplish that. Another item to test this spring. Of course either Thunderbolt or USB3 will also change the time equation, but for now I’m stuck in the world of firewire. I never realized MXF+DNx was such a problem to record, I was just hoping to have one less pathway to have to test.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[gary adcock] “It is my understanding that the MXF version of the DNXHD is not optimized foe realtime acquisition, hence the OP1a variant that is used by most mfg’s”

So I guess the answer to my original question is no.

Thanks.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Jeff Kay] “I also find some of the multicam comments odd; I think all of the NLEs will do multicam with different formats (or is this in regards to resolution/framerate?).”

FCPX can create multicam clips where every angle is a different codec and/or framrate – I don’t know about Avid but I know that in FCP Legacy in order to create a multiclip every angle has to be consistent in terms of codec and framerate.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[James Ewart] “What do you do about audio under the B roll?”

The same thing you would do with a hidden layer of video sitting on top of it, without having to deal with the unnecessary video.

[James Ewart] “Isn’t it simpler to have the associated picture in the timeline with its audio even if you can’t see it?”

No, I find it more complicated to deal with upper and lower video tracks. If you ever want the sync video it’s only a “match” away.

Perhaps it’s because I started in film, but this whole idea that the audio needs to be tethered to the video it just happened to be recorded with seems very limiting. Film was almost always double system, audio was recorded separately and sync, while necessary, was not an intrinsic part of the media itself. For whatever reason there are some editors, mostly older in my experience, who do not need or want to see every piece of audio permanently locked to the video it was once recorded with. Who knows, if you try cutting this way you might like the freedom it brings.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[gary adcock] ” All the in-camera (even Arri) and external recorder options ( Aja, BMD, Atoms, Convergient Design) all use the OP1a version of the Avid codec as far as I know.”

This is from the AJA website about the KiPro Rack:

By utilizing efficient ProRes and DNxHD codecs, file sizes are kept in check so you won’t need to blow your production budget on extra storage.

But the precise Codec is not my question, my question is whether it will ever be available in MXF as opposed to Quicktime.

In other words, are there any plans to have the KiPro be able to produce a file that can be edited natively in Avid, without any sort of re-wrapping or need to use AMA?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf