[Joseph Owens]

[David Lawrence] “I think of it as FCPX’s vestigial tail”

Yeah, or the whale’s hip-bones. Quite frankly, when the “QA” people were let go, there were a number of opinions shared, and especially knowing the quality and real artisan-al skills of a few of those meant that some kind of internal power struggle had occurred and it did not bode well for the status quo. With so many changes to the OS, it would not be surprising that someone made a decision that it was a maybe-maybe-not within a reasonable business/deadline model to make the FCP7 structure work again, and so they went with something that was partially functional and built it out a bit — just to make the shipping date. Eliminate the impossible, and whatever remains, however improbable, is the truth. Obviously, I didn’t make that one up so feel free to contest it.

Outside of any arguments that users might have, though, even more troubling for those who would rather have seen the continued evolution of FCP7 (as damaged and failing as it had come to be), is the reaction of the third-party and hardware manufacturers that supply this market. Quite obviously, their actuaries have run the numbers and decided not to play bingo with Apple anymore.

Guessing-games as to where the “new” editing “paradigm” might land (for better or worse, who knows?) is a game of blindfold-pin-the-lawn-dart-on-the-donkey-next-door, and money people hate this. New Mac Pros? maybe, maybe not. Support for their peripherals? maybe, maybe not. In a business climate where *one* is too many maybe-maybe-nots. Pull the plug. The people over at Windows are all over that scenario — already Blackmagic Design has rolled out a Windows version of Resolve, that, yes, is faster. It has a larger equipment/peripheral support list, even with new nVidia participation through updated drivers (with the proviso that you also move up the OS versions). You’d be surprised at the number of people who don’t actually find that to be wildly appealing. Because you have to buy new(?) MacPros, but are still ham-strung with limited buss structures. Or fork out even more money for extended chassis. Wait’ll your accountants and creditors get a load of that one.

The other major editing applications have options for both platforms, but which do you think will eventually be favoured and have the advantage because there is a road map that you can plan around?

discuss.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

That’s apparently correct, and the subtext is that even the flashed ones work in PCs if you want to go over to the apparently much faster Windows version of Resolve.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

What’s in the folder labelled “2”? Doesn’t look like that’s actually open in the browser.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

What I don’t see is the need to pull out the ATI and Q4000 cards and do all the jumpering.

You need a GUI GPU in slot one and that is Rule #1. You leave one of those cards in slot one and drop the 580 in slot 2, but do realize this depends on your OS. Review the appropriate threads on the rest of this forum to determine your requirements for that, in order for the new nVidia drivers to work.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Yeah, its not exactly the same as “Reconform” was in COLOR, is it, where all 4 “hot” grades would get re-attached. My pet peeve is the addition of phantom dynamics that may correspond to a changed handle, or in point, or not.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

So if I’m reading this correctly, etc.

You want to be able to apply several different RED decode settings to the same clip simultaneously. Maybe there’s a way to do that in “what-if” land, but for the moment, my understanding is that deBayering and metadata settings are clip-based and not node-based, at all…

which leads to the clip-by-clip metadata settings wish list, and maybe I’m missing something here, but you can already right-click on any R3D clip thumbnail in the COLOR timeline and choose “Edit Redcode Settings”, which brings up the dialog that allows you to set the proxy, and decode using a choice of Clip, Project, Camera Metadata or RED Default settings, plus all the sliders governing ISO, tint, etc., etc.
Which sort of really acts just like a “Tab”, but it stays out of the way until you want to see it.

Or are you all asking for something else?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I assume then that it is the extracted H264 variant that is otherwise recorded directly to tape.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Juan Salvo] ” rendering to HDCAM-SR. Very, very cool! HDCAM-SR is a great codec.”

?????

Lets see now, I own an SRW-5500, and I didn’t know it was a “codec”.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[William Edwards] “doesn’t have a keyboard shortcut.”

There sure is. Page 207 of the sacred scripture:

To turn every node off and on at once:
• Press the Up Arrow key to turn off all nodes, and press the Down Arrow key to turn
them on again.

Holy Hand grenades.
jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Did you create a new numbered (Swiss bank account)/ folder in the AvidMediaFiles/MXF partition? I found that keeping the source media separate from the new rendered media helps to keep the accounting and cataloguing at least humanly understandable, especially if you’re coming from a FCP-“anywhere” media storage point of view.

If the new media is in the same original folder, maybe it would be worth a try to filter it out into a new folder – in the AMF/MXF hierarchy, of course, and create a new mdb.

Once the mdb has been established, it should be draggable to a new bin in MC6. If it still chokes, maybe there’s a codec problem and at that point, I’d start test-rendering individual clips in a variety of formats.

jPo

You mean “Old Ben”? Ben Kenobi?