Mark Maness
Forum Replies Created
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Oh… I forgot.
I can also capture HDV to ProRes422 in realtime to a FireWire 800 CalDigit VR drive. And I have my Sony M10U HDV deck connected to the CalDigit VR using a FireWire adapter. It’s perfectly fine.
So… Give me something to try since the system isn’t viable for professional work. I’ll show you something that may just amaze you. By the way… I’m not doing 4k work so it’s just fine for my needs.
My point is… Don’t bash something because it doesn’t fit your needs. Just accept that iMacs are viable for most.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
To add to this… I would bet that AfterEffects was not setup properly. My top of the line iMac is faster than my 2007 Octocore 3 ghz with 8 gig of RAM. I, too, have the same iMac as you, but I’m concerned why yours is slow. Mine screams. Motion and AfterEffects are faster than I have ever seen.
Look at your setup of the programs and make sure they are using all the processors possible. Qmaster has to be setup, too.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Well… I can tell you, Brett.
I just bought an iMac for my home system and also to be used an edit system. IT IS AWESOME!!!! I bought the 27″ 2.9 Quad Core i7 processor with 4 gig on RAM and 1 gig of video. Man it screams faster than my 2007 Octocore with 8 gig of RAM. Motion is AWESOME. It works in realtime with lots of layers. Render times are almost half of what I’m used to seeing at work.
Yeah… I don’t have a true monitoring on it yet but I use the scopes religiously and until I can afford a broadcast monitor and an HDMI to SDI breakout box… I’ll just keep using my HDMI flat panel. It’s pretty darn close to broadcast.
I just wish I had an ExpressCard slot and another firewire 800 port.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Well, you know what they say about upgrades…
Replace old bugs with new bugs!
Life would not be worth it if software was perfect…
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
[Tom Wolsky] “If your clips have assigned reel numbers when you media manage or do a batch capture of selected you should only be ingesting the selected area plus handles, but a reel number must be assigned for every clip.”
That’s true… it should work that way but it doesn’t. I’ve seen this behavior since the beginning of FCP. I have some work-arounds now, but it should be easier than this.
I’m an old school guy, so reel numbers are a must when working in our shop. But when we try to batch capture the clips, and let me first say, that its not all of our clips just a few that end up this way, but when you batch capture it captures the entire original clip over and over depending on how many times you made the new master clips. So I guess, using the Media Manager is the way around this issue but to me, it’s an unnecessary step in completing a task. But… Oh well…
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
That sounds good but that doesn’t work either. And according the the FCP manual, here’s how subclips work when recapturing:
Recapturing Subclips
Subclips refer to portions of media files by using virtual subclip limits. When you tell Final Cut Pro to capture a subclip, the subclip limits are ignored, and the entire duration of the original media file is captured.This is my dilemma. So… the only way to overcome this issue is to use Media Manager on your project media. The manual talks about this, but MAN… what a waste of time. Take a look at this from the manual:
How Subclips Are Processed
When you create a subclip, you create a new master clip. A subclip is not related to the original clip it came from. However, both the original clip and the subclip refer to the same media file. Internally, a subclip is aware of the true Media Start and Media End points of a media file, but it provides artificial subclip limits to make the clip seem shorter, making it easier to work with in the Viewer and during editing.When the Media Manager encounters a subclip, it treats the subclip like any other clip, using the artificial Media Start and End times instead of the actual Media Start and End times. This means you can use the “Delete unused media from selected items” option when processing a subclip to create a smaller media file that is only the length of the subclip.
Note: In some cases, you may want to delete the original master clip that your subclips were created from to ensure Final Cut Pro doesn’t attempt to preserve the entire media file referenced by the original master clip.
There’s got to be a faster way to do this…. Any ideas?
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
To clarify a little better…
FCP is NOT multi-processor or multi-thread capable program. Its such a shame that its not. That’s a HUGE error on Apple’s part.
To help you when working in XDCAM HD, do not set your render prefs to render to ProRes422. This will add lots of time to your exports. You need to work entirely in XDCAM HD. Now, still images, Photoshop files and other video pieces that are not XDCAM HD will have to be rendered into the XDCAM codec inside of FCP, but when you export, it will have to rewrite these files again and it adds to the export time.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
[Dave LaRonde] “Don’t get me wrong, I like using FCP, but when a momentous improvement in Final Cut Suite is simply software you bought & bundled (Color), you have to wonder how committed Apple is to keeping the primary application up to date. “
Ok… I’ll give you that one, Dave. But don’t you think it may be time for a rewrite of the software to make it more efficient?
Apple has had a 64-bit OS for some time now. And to be perfect honest, the MacOS has had a 64-bit backbone for a very long time now. Longer than Snow Leopard. That was the advantage of building the OS on a form of Unix.
Apple has made quite a few advancements in technology, no doubt. But when it comes to the Pro Apps, they’ve been slow. Sure, Color is amazing but why can’t they incorporate some of the technology into FCP. You know, an improved 3-way Color Corrector, maybe. Not everyone has the time to work in Color. Sometimes we just need a quick fix. Magic Bullet’s Colorista II is perfect for this, but slow to render.
How about working on the marketing claims that don’t really work very well, like the Share function or better yet, Motion integration with Motion templates that you can use right on your timeline?
We aren’t whining for fun… We have legit issues and it seems that most are just overlooked or ignored. Wouldn’t the COW be a great place for Apple to monitor to see what folks are wanting or what needs repair? Sure… I know they can’t implement everything we want, but maybe just add the most popular needs or repairing marketing flaws. That’s all.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
Have you noticed a pattern, Dave?
People are getting fed up with Apple making promises of better software and incredible improvements and when it come to the Pro Apps we are seeing nothing. Apple is sliding way behind the curve in Pro Apps development. Folks have been complaining and whining about features for a long time and we have yet to see many of them come about. That’s what’s at hand here.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
[Dave LaRonde] “Apple had better get its ProApps act together, or run up the white flag of surrender to other software developers.”
I agree totally! Avid is coming back with a vengeance.
_______________________________
Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com