Keith Koby
Forum Replies Created
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At NAB I asked the product manager for anywhere and there is no video out currently. In other words, the streamed proxy that you are working with isn’t going to be able to be converted to an accurate baseband output on the fly. And maybe it never will, so start the bitching chorus re no baseband out to a professional monitor like we had for 10.0.0. Also, it is not just a stream. The processing can happen either locally or remotely (on the server) depending on what the render is. Whichever is more expedient will happen – local render or remote render.
Something is wrong with the thought of a big post house hosting footage and anywhere servers. Always the client will want a font or plugin that isn’t available on the anywhere servers that will make for more trouble than it is worth, but maybe they’ll figure that all out.
And according to https://www.starbucks.com/store-locator, there is no starbucks in bagdahd.
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
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I agree with Jeremy… It works OK. At least as ok as it did with 7 and in some points better. I agree with you too Oliver in that it can be better. I hope it gets there.
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
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If you were using that computer “in my shop” for FCPX, then that would be my problem because I’m responsible for outfitting “the shop” with computers. You’d certainly be working at a station with a better computer for the job.
I’d also be stripping away, systematically, all of the other pieces of the puzzle until we found what was causing the slow down. Maybe take this to the techniques forum for a rational discussion.
Back to the hardware-
Throw out all the other nonsense here and it’s true: FCPX is more responsive on a new iMac than on an older mac pro. We have used it with 12 core machines and depending on what you are doing it is ok. The iMac is much better though. I don’t think it is much of a matter for “debate” though. It’s just how it is. -
[Jeremy Garchow] “It would be nice to be able to assign Roles to clips in the import window.
I find that the earlier I assign Roles, the more it helps me down the line, even if the Role isn’t the exact correct Role, it’s better than having everything assigned the default.”
That is an excellent suggestion. It’s not difficult to assign roles, but I wish it were easier.
We are looking for a tool that would do this outside of fcpx and deliver via xml. I’ve asked MAM developers if they will include such a tool in the mam. I’ve also asked tape ingest tool developers if they could make something to that effect. For example VTR exchange gives you an fcpxml of the batch capture…
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
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Ha! Well – I have a great group of people here that are helping me figure that stuff out.
Anyway, besides being consistent for consistency sake and audio x2pro sake, it also helps out considerably for saved preset exporting. If everyone uses the same roles and actually labels appropriately, then your export presets for exporting multitrack QT by roles should work when you open someone else’s project.
I thought for a minute that it would’ve been better if they had kept the roles in a pref file that we could distribute, but I’m liking this method better now.
Keith
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
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Yes the roles that appear in the interface are attached to any roles that are used in open events and projects. If you close and remove all projects and relaunch the app, you’ll find that you are back to just the built ins.
This is good news if you use a standardized set of additional roles. We are in a multiuser environment where we like roles to be consistent for export to audio and for familiarity when projects are “shared”.
The way we control this is by making an event with a placeholder bars and tone clip or clips inside… The clips we made in fcp7 with the bars generator and like 16 tracks of audio. We imported those into fcpx and assigned roles to each channel of audio and video (for example we made a video role called GFX which would be different than the standard “Titles” that is built in. Next we export an fcpxml of that event and save it in a central location on the san (network).
So we have different standard roles for different workflows. Whenever a user starts a new project, the first step is to import the graphics template that is pre-rolled and the roles template into their san location.
This is working well. It also gives you some ability to save a new version of the template to only affect things moving forward.
Keith
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
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I’m with you on all of those reasons. Also, I don’t trust any NLE to do the right thing in up/down/cross/(don’t mention standards) conversions. Your bound to get some mixed media in your project. I prefer doing that conversion outside the app.
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
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No. They’re just regular connected clips.
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Has nothing to do with FCPX… It’s bandwidth on the recording medium. It’s the same in broadcast. think about cable and sat too. 720p is 60 fps while 1080i is 60 fields per a second (30 frames per second). In order to push the resolution, you sacrifice frame rate and vice versa. The particular camera you are talking about has a limitation on either its processing power or recording medium bandwidth that restricts it from being able to record 1080p 50 for example.
Keith
Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
Howard TV!/Movies On Demand/iNDEMAND Pay-Per-View/iNDEMAND 3D -
Dude – you’re going to be answering other peoples questions soon.