[Herb Sevush]

[Bill Davis] “Is “internet conditioning” changing what audiences will now accept as narrative flow?”

I’m an old fart and I liked the narrative flow, thought it was very well done, not sure what internet conditioning has to do with it. Anyone who’s raised a kid in the past few years can relate. Amy was history from the moment she made the crack about asian roommates.

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

[Herb Sevush]

[Eric Santiago] “Herb any preferences to RAIDs? Our Apple XServe RAID and GTech XLs are getting old fast :”

I had an Xserve raid for years and it was heavy, expensive and slow. Currently both my raids are PCIe devices from Maxx Digital, they advertise here, I like their service and price. There are a lot of other PCIe vendors – caldigit, sonnet – plus Pegasus if you want to go Thunderbolt.

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

[Herb Sevush]

[Richard Herd] “how are you storing all of your footage. My understanding from lurking around here is you shoot 26 shows, in multicam, which sounds like a data storage nightmare. Just curious what you do.”

From the studio shoot I get 14 Terrabytes of ProRes 422 loaded onto 2 different 8 disc raids, 14TB and 5.25TB of actual storage, both are set as Raid5. I try never to get the raids 80% full. We shoot 5 cameras, I put the angles for 4 cameras on my newest raid, that gets around 800MB/s, and put the fifth and least used angle on my older slower Raid that gets around 400MB/s. I find that long multicam clips, and some of my clips are over 10 minutes long, require a lot more disk speed than the numbers would lead you to believe if you don’t want to drop frames occasionally, and I never want to drop frames. There’s also a bunch of single camera location stuff that comes in different formats and a bunch of animation and graphics that has to be dealt with. Now that all acquisition is file based I archive everything onto LTO5 tapes at the end of the edit.

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

[Herb Sevush]

[Jeremy Garchow] “”Future versions of the technology are intended to appear outside data centers, perhaps in consumer applications.””

Yes, I read that part as well. Future, time unspecified, and “perhaps” most of all. Again, I will reiterate, when I have a data center in my closet I will give this some consideration. Now I might have a data center in my closet in five years or so, who knows, but I think I will leave this out of my budget projections for next year. And the year after that.

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

[Herb Sevush]

[Jeremy Garchow] “”Some of Intel’s partners are considering a more extreme version of that approach. It would see memory, processors, and data storage being kept in entirely separate cabinets, all linked with optical connections. “”

When I start keeping a complete data center in my closet to edit with, I’ll have to take this into consideration.

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

[Herb Sevush]

[Charlie Austin] “Probably true, but honestly, I always found FCP Classics ability to modify files kinda of buggy anyway. QTEdit, from digital rebellion is way more powerful and user friendly for this sort of task.”

I’ve never had any issues changing tc or reel#s from within FCP, so I don’t know what buggines your referring to, and yes it’s a lot more convenient to do it within the NLE.

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

[Herb Sevush]

[Bill Davis] “Oliver’s basic criticism seems to be about “embedding name and ID changes into the media file, but rather into it’s own database.” Well, that’s kinda defines the entire POINT of the X workflow. Everything hovers around and relates to the database. Do you lose some capabilities with this approach? Sure. But you gain so vastly many more possibilities that the idea that I’d give up what X does so well – in favor of the things it doesn’t seems to me to miss the whole point of the X rebuild. Which just to remind everyone was NOT to keep doing things the same way in an industry that increasingly does NOT look the same as it used to.”

Your idealization of the FCPX database structure leads you to make some highly questionable points. There is nothing about the X database structure that prohibits it from embedding the info into both it’s own Dbase and the Quicktime file itself other than a lack of will to do so. It is not an “either or” idea, it could do both, in the future it might do both, at the moment it doesn’t and that is a limitation, not a feature. There is nothing about limitations like this that are inherently “future oriented,” they are just limitations. As a well known forum poster might put it, “Simple as that.”

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

[Herb Sevush]

[alban egger] “Did you watch this multicam demo: “

I hadn’t seen it before, so thank you. I didn’t need to see it to know that X’s multicam feature is the best that currently exists.

Unfortunately this demo, like most multicam demos, uses a live performance piece as the example, and live performance cutting is the most rudimentary form of multicam editing. The demo guy was ohhing and ahhing over stuff, like sliding edits and overlapping audio, that any multicam ever created could do.

On the other hand the angle editor’s ability to handle discontinuous shooting within an angle makes my mouth water. I’m still considering X for my future work precisely for this reason, even though the magnetic timeline is totally anathema to my way of working (auditions and compound clips excluded).

10.1 and the pricing of the new MacPro will have a big influence on that decision.

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

[Herb Sevush]

[alban egger] “First of all: I have asked to change the name of the forum, because it has turned into an Adobe PR tool long ago. FCPX has not much to do with it.”

It is no more an Adobe PR tool than it is an Apple PR tool. As for the forum name, well you can ask, and you can be heard, but sometimes the answer is still no.

[alban egger] “you will feel right at home in Edius or Media100 or SpeedRazor….because they have tracks. Heck, Edius5 already blew FCP7 out of the water in basically every regard you mention (as long as you don´t directlink to AE or don´t need too many effects and plugins).”

Yes, they are the same as long as you don’t need anything – Media 100 and Speed Razor are EOL, Edius is PC only with limited multicam, plug-ins and no direct link to AE – yes they are all quite similar to PPro.

[alban egger] “So the entry-level is low financial and in terms of learning curve. And that will help Apple to get into the market as well, because nowadays films are not only edited in studios, but in basically every marketing office. And to be afraid of that as an editor or to say it can´t be professional then is nothing else than being arrogant and unrealistic. “

The only person on this thread talking about X being unprofessional is you.

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

[Herb Sevush]

[Andy Field] “have you tried their new multicam in this version? It is much improved and I think will sync on sound”

Anyone can sync on sound using Plural Eyes. It’s nice to have it as part of the internal ap, but most of my work is in studio where Time Code sync is expected, so that feature is not such a big deal in my situation.

I tried the new multicam when Adobe first posted it on the cloud and it still sucked – I’ve heard that they have since added the missing match back features in later updates, so that’s an improvement. But they still don’t seem to comprehend that it is essential to create a multicam clip that can be manipulated exactly as any other clip but with the added feature of having multiple angles. They still seem to think of multicam as some sort of filter instead of as an object in itself. The fact that at this point in time their multicam implementation still can’t handle discontinuous shooting just shows how little they understand the needs of a multicam editor. They need to take a serious look at the FCPX multicam feature and understand that they have to at least come up to that level, if not exceed it. It can’t be that hard, discreet *edit could do this sort of stuff 10 years ago.

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