Jerry Hofmann
Forum Replies Created
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I’d use ProRes proxy for an offline edit on an iMac. FW 800 will work just fine all day long with it, and you can store a lot more minutes/gig with it. Use 1920X1080. (same size as your finish is going to be).
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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How did you compress the video for the DVD? How long is the project? Try exporting a self contained QT movie using current settings, and open that in Compressor for the encoding.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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When you opened a sequence in FCP 7, FCP would load information about where each clip resided on a hard drive and more, and most of this information goes into RAM so it’s accessed incredibly fast. However the code base used in FCP 1-7 (originally carbon then carbonized for OS X) couldn’t access more than about 2.7 gigs of RAM total. So when you load a huge feature length zillion edit sequence, it may have to disk cache to even load the sequence in the timeline window. Depends… the simpler the sequence, and fewer the edits the less RAM it needs… The spinning wheel would run for a while during this disk caching routine, then the sequence would load as much as it could around the playhead and work. But ya waited… You can see the amount of RAM any program uses in the Activity Monitor on your Mac. Open it and monitor what happens when you do any given task, judge you’re next upgrades that way.
Same thing in FCP X. (loading a bunch of info into RAM loading sequences, and loading clip info) However the ceiling the program will use is much higher. Tons and tons, more than the machine can support before disk caching takes place. RAM couldn’t be accessed like this before. So buying more for just FCP to run OK didn’t make sense.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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Can you import one? If so look to see what may be different between it and the clip it won’t reference.
Jerry
Jerry
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I’ll be more explicit. I’m a Mac not a PC (most users have to choose between these two) Meant no offense to OS.
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Right! You decide when any audio will always and only move with X and you only select it or the picture it’s attached to. things like sound effects carefully synced move if you move the picture it’s edited to. But the music attached earlier doesn’t move. Just as you’ve set it up to behave.
The number of clicks saved in the timeline are greatly reduced overall through the process. Another reason it’s fast to create a sequence. Do yourself a favor and learn it. Good for the brain in any event!
Jerry
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I’m talking about the fact that we always want audio to come at a certain place with the video. I’m pointing out that it should move with that video if I move the video. FCP X accomplishes this for me.
You have to click in order to highlight certain roles it’s true. But that extra click has allowed you to have the magnetic timeline in the first place, I think that’s certainly a doable trade-off.
Jerry
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But you want said audio to go in a certan place in the sequence, no?
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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I don’t say you should dismiss workflow considerations. I said it’s still the fastest NLE (Non Linear Editor) in the world. Making a change in a middle of a scene or a change in the scene orders themselves is typically only one click away and instant. In a track based editor it would take so much more effort if clips are running under or over said edit change. In X, you tie any given frame of an audio clip to any given frame of any video clip and they stay locked until you change that relationship in this new timeline. That’s fundamentally different than traditional timeline’s behaviors, and turns out, a lot faster during the editorial process of changing everything under the sun over and over. Fewer moves makes for faster editing, or it makes for more trial and error time. Either way, it’s better. But it is considerably faster during the process of edit decision making for anybody that seems to learn the app. I think it’s likely the easiest app to learn if you bring no notions to the workflow you use in the timeline. there are direct comparisons to the structure of organizational features otherwise.
I want better ways to edit on the fily with FCP X. That is missing. There’s lot’s missing. But I’m not forgetting FCP 1 only did DV… so think of how much more X does from the first ‘release’.
Giving up tracks gave us the ability to always link any audio and video layers to each other precisely on any given frame and sort of lock it that way. and at the same time, move it where we intend it to be no matter what I do lengthwise to any given clip in a sequence. The out of sync problem moves in a sequence have plagued NLE’s forever, in that they took too much thinking from the editor, or not enough, but it has always been cumbersome comparatively.
Jerry
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Not that it can’t be done. It can. But not without going through hoops until adobe reads X’s XML I’d guess. I don’t use AE. If I can’t do it in Apple’s sofware I go to an effects artist who doesn’t edit. You can nearly always export and import movies between any app.
X is the only NLE software in the world that is written in OS X native code BTW, so is the only modern Mac NLE sofware out there. The other guys have to catch up in from any perspective on that front. That gives Apple a unique position.
You’d be faster working in Motion 5 if you could use it today with X. It’s a new app from 4.5 too. But closer because it was already Cocoa. Publishing is especially forward thinking with it and X.
Currently, it’s best workflow for what many would use AE for. But not everyone obviously. I would think that if you have use AE, you’ll have great results using Premiere, in that it passes XML precisely?
I’d also submit that this issue will deminish faster than not. Third parties all over this. Phil and Greg at Int. Asst. for starters. They did what Apple stated was impossible.
It comes down to what gets the results you want the fastest way possible for the task at hand balancing a workflow. The gaol may be to give more time to serious trial and error. Or to simply render and deliver faster. Your workflow should be determined by this factor somewhat, and the rest is personal preference, which takes a serious backseat.
Learning them all is what anybody could profit from I’ll wager. LOL.
Jerry