Marcus Moore
Forum Replies Created
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This is only an illustrative image that I mocked up.
You can easily move the connection point of your connected clips (audio or video) by clicking on the clip where you want it while holding down the CMD+OPT keys.
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That’s a very important question and one that can be hard for people to wrap their heads around.
When you put specific kinds of audio onto specific tracks, you’re really assigning them a kind of metadata, but a kind that isn’t tied to the media itself. Track 1-4 is DIALOGUE because that’s where you put it.
The new idea that FCPX proposes is that the media ITSELF is tagged as what it is, DIALOGUE, AMBIENCE, MUSIC, ETC.. FCPX assigns these roles automatically on import, and I’ve personally never found it to be wrong. HOWEVER, if you wanted to tag a music track or dialogue as AMBIENCE for example, you can. And if you need to be more specific, you can create custom roles, and even sub-roles- “Dialogue Nina” or “Sound FX Gunshots” and so on.
Now here’s the cool part… When you export to OMF via X2Pro, all of this Role data gets pushed out, so that when your audio engineer opens the OMF in ProTools, all of your Role data is already there. No more long emails explaining your track structure!
So, why did they do this? Or better yet, why is this a good thing? Well, because in FCPX’s Connected Clip and Magnetic Timeline structure, all of the audio elements need to be able to shift around when possible collisions occur. If you remove 1 second from the end of a shot in a complex edit, you don’t have to worry that Gunshot on TRACK 12 is going to over-right the start of Ricochet that right behind it on TRACK 12. Without tracks, you as the editor no longer have to micromanage moving around dialogue within Tracks 1-4 when conflicts occur. Connected clips and a trackless timeline are an interdependent concept that work together.
Now, that said, I do think there is a problem. Right now VISUAL ORGANIZATION in the project timeline is not great. Everything is green. What I would love to see is media organized BY ROLE, either with soft lines or with the audio elements custom colour-coded, so that all DIALOGUE is kept together and easy to spot in the timeline. I suppose you could call this a track, but I’d think of it more as a “Channel” or “Lane” for each Role group. All the audio elements are free to move around in their lane to adjust to editorial changes, but they stay together as a group. Here’s a rough image to illustrate what I’m taking about.
10.0.5 supposedly has some big audio improvements coming down the line, so hopefully we’ll see some improvement in this area.
But I assure you, audio without tracks is possible. It surprised the hell out of me!
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RAM is definitely out. I did get the SSD from them last time at great cost, as it was my understanding that the MBP was a difficult machine to modify, AND a job pretty much paid for the purchase anyway…
If I’ve got a 1TB HD in the iMac now, can that be moved to the second internal bay, or are they different sizes/configurations?
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I’ll take a look at the procedure.
What’s the maximum recommended internal SSD you can get now? I was insane and paid the $1100 for the 500GB SSD on my MBP. Never regretted it.
M
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RAM is easy. The HD I’m a bit more dubious about, and might leave to a 3rd party who makes that their stock in trade.
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Yeah. I fully acknowledge the limitations of a system like this- but I’m just learning the software and in a year I might decide that it’s not where my strength/interest lies and I should just hire someone.
If I do really take to DaVinci and some of the larger jobs potentially on the slate for the later half of the year go, then a new MacPro will definitely be the next step, along with a Tangent Wave.
Unfortunately, 2 ports on a drive doesn’t solve my problem- that simply allows it to be part of the chain. With neither the Intensity or the Cintiq having a pass-through, I’d ultimately have to pick one to be at the end of the chain and then try to hook the other one up to the ExpressCard slot. That’s probably would have been the Cintiq, using a ViDock and an external graphics card- ANOTHER $500!
Hooking all this gear up to my MBP was just getting too convoluted. The 2 TB ports on the iMac solves a lot of problems.
the built in SSD was the one thing I didn’t have put in when I order the machine. I hope I can get that done aftermarket when I get the RAM bumped to 16GB.
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The Intensity Extreme works with Resolve as well? I wish BlackMagic would make it clearer which of their products work with Resolve. I don’t need 2K or 3D at this point, and I’m ONLY using this device for monitoring.
Is there a clear deficiency between monitoring via component and SDI?
As to my setup, I’m actually considering selling my MBP and moving over to the iMac I just bought late last year. It’s actually rated for “heavier” work in the Mac Configuration Guidelines.
Plus, with the iMac’s 2 Thunderbolt ports, I’ll be able to connect BOTH the UltraStudio [or whichever one I end up getting], AND my Wacom Cintiq at the same time, which would have been a challenge with MBP’s one Thunderbolt port, since they’re both “end of chain” devices.
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Thanks very much guys. I knew there must be a disconnect somewhere. This is very good news.
Now I gotta sell my MX02!
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Has there been an update to this document?
https://www.blackmagic-design.com/media/1764189/DaVinci_Resolve_8.0_Mac_Config_Guide.pdf
If not, then the only thing I can glean is that you’re trying to get me to come to the conclusion that broadcast monitoring is not supported.
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I’ve read through the guide several times, and they make no explicit mention of being able to do video monitoring in their MacBookPro or iMac orientations.
I’m running the software just fine, it’s only monitoring that I’m trying to find the solution for. Considering that I can monitor 1080 from my MX02, I cannot imagine that there is a technical limitation preventing monitoring from Resolve on a MBP. Real-time playback performance my suffer in heavy grades, but beyond that I can’t imagine the limitation…
