Jeff Markgraf
Forum Replies Created
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Here’s an article at Extreme Tech that sheds some light on this issue.
i7 vs Xeon, number of threads an application uses, GPUs, thunderbolt ports…its a lot more complicated than the short articles at macrumors and the like would have you believe.
In short, I don’t think those who bought the macpro should be indulging in buyer’ remorse. Different machines, different target audiences.
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Working on a 5K project now. I just imported the R3D files, leaving them in place on the raid. Made the proxies within FCP X. Working in proxy mode. All is well.
Not sure the REDCine step is necessary, as I can get access to the R3D metadata via the inspector. Or am I missing something?
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Just updated tonight on my MBPro retina.
FCPX seems fine, but Yosemite seems to have broken my Kona 3. Which is to say, FCP no longer sees it, and the AV output option is greyed out. I guess it was inevitable, given that AJA considers the Kona 3 to be a “legacy” product. But I don’t really need everything the Kona does anymore, as I haven’t seen tape in a couple of years.
A 4K IO would be great, but who has 2 grand laying around? A T-Tap should be a perfectly fine replacement to get SDI out to the broadcast monitor (and it’ll do 2K, so yay).
Anyone else?
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For those who do promo work outside the networks, but for the networks, delivery usually means sending a rough cut and the accompanying project file to the network for online/finishing. Like it or not, if you cut promos for NBC, you’re going to have to cut in Avid and send them the projects. ABC gets FCP7, at least until they switch to Premiere (he says as tears begin to fall…).
Amusingly enough, even when the source material for the rough cuts is the same hi-res footage as what is back at the network, the finishing is always done there, even if it’s just tweaking the color and doing the audio sweetening. Plus versioning, of course.
So I’ll probably never get to cut anything for the networks on FCP-X, even though it’s far and away my preferred NLE. A shame, since this stuff is always flat fee, not hourly, so there’s no benefit in taking longer with Avid.
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I set up the movie I’m working on now with synchronized clips (1 mono .wav file tied to one R3D video file). started the project somewhere around 10.6, upgrading along the way to the current version.
I remember Sam Mestman talking about a bug with synchronized clips regarding the fit/fill switch being broken with synchronized clips vs. multicam, which is why he recommended multicam. NOt sure if this is still the case.
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Maybe I’m old fashioned, but I’ve never been comfortable with this idea of “punching in” from a wider shot to a closeup with no change of angle.
I was taught (back when dinosaurs roamed the earth) that a minimum of 30 degrees was needed to avoid the cut feeling like a jump cut. By definition, simply zooming in and reframing would therefore be a jump cut because of the consistent angle. Not that it couldn’t be effective, but it would be as a “shock” cut, rather than a seamless cut.
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how is it that DVD and blu-ray titles are so ubiquitous in retail?
The same way VHS tapes hung on for years after the majority of people switched to DVDs.
The same way networks insist on protecting the 4×3 frame years after it’s almost impossible to buy an SD television.Inertia.
And there’s always a little more money to be made off the late adopters (like my friend who refuses to give up his dot matrix printer). I just smile and wish him well.
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Robin & James – I think you’re both right.
You should see the looks I get here in Hollyweird when I say I’m using FCPX. I use Avid or FCP Legacy in every single gig I take at the network or at a promo or post house. Their gig, their equipment, their rules. (One post house I know switched to PrPro to accommodate an animation-heavy show that is no longer in production.)
But I use X for my own projects (currently a movie and a documentary) because I took the plunge when it launched and I really like the program.
I know of very few people here using X. But then these same people are typically using a version of Avid that is at least 5 or 6 years old on hardware that is at least 4 or 5 years out of date. Hollywood editors HATE to change anything. And it’s not just video. Good luck finding a current version of ProTools at any major audio post facility here in town (at least the ones that are left, what with Todd-AO closing down). They’re all 1 or 2 versions behind.
Because no one wants to take a risk on anything. Too much money at stake. New software = bugs/confusion = downtime = lost money = angry clients who barely understand the technology of their chosen business in the first place.
So yes, Hollywood (and by extension NY, London, etc.) is but a small percentage of the worldwide market for NLEs and the like. But it throws around its weight way out of proportion to its numbers. Remember, no one ever got fired for choosing IBM.
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Hi Jeremy. As I understand this issue, only opening a file in an Adobe program will add the XMP data, correct?
In my case, the “director” (ha! – but that’s another story) has a hard drive with the same files and file structure as mine. He’s the one who cloned his drive and gave it to me to work with. He does not have FCPX – just FCP 7 (or maybe 6). He made some stringouts in his FCP system and exported them as XML. I unzipped his XML files and ran them through 7toX. Worked fine. Tried to do some more the next day. No joy. Deleted XMLs, unzipped again, etc. No joy. Restarted FCPX. All is well. But no Adobe products were used in this process.
At any rate, perhaps the 10.1.2 update will fix the quirkiness.
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Had this problem last week bringing in FCP7 XMLs through 7toX. Some came in OK and I relinked. Then later nothing worked, got the incompatible files error message. A restart fixed the problem for me. As far as I know, none of these files ever touched any Adobe product. Hmm…
OSX 10.9.3 (via the update process), FCP 10.1.1