[Mathieu Ghekiere]

Try XDCAM Transfer version 12 or so. I think that does rewrap too. That’s from Sony, free. It’s not the same as the Content Browser.

Other option is, go to the website of Convergent Design. They have, under their downloads software somewhere a utility that goes from MOV to MXF and vice versa.

but I would rather work with XDCAM transfer. It allows much more files at the same time, in one batch.

[Mathieu Ghekiere]

To be honest, because of the magnetic timeline, I often find that in FCPX I can re-work an excisting timeline much EASIER then I could in FCP7. I can just remove things, replace some stuff, most of it all stays in sync, depending on how you put your beats of course. Sometimes with music as a connected clip, this isn’t the case, but still. I had to do some changes on a timeline recently, and it was so quick to change things, check it, and export it.

The magneticism is definitely something you have to learn to work with. And there are some instances where it still works against you, and not for you (I had my time of hating secondary storylines), but a lot of it is adjustment, and it works like a dream once you get used to it.
And with lifting things from their storyline, working with connected clips, you can override some magnetics. A lot of time I think in FCPX we seem to have best of both worlds.

[Mathieu Ghekiere]

From BMD forum:

“Hi,

We have been testing with DaVinci Resolve 10 builds and this (the new Mac Pro) screams. Its amazing and those GPUs are incredible powerful. I am not sure what I can say as I am only going off what Apple has talked about publicly here in the keynote for what I can say right now, however there is a whole new OpenCL and DaVinci Resolve 10 has had a lot of performance work done to integrate it and its really really fast. Those GPUs are very powerful and have lots of GPU memory so this is the Mac we have been waiting for! We have lots of Thunderbolt products too so video in and out is taken care of.

We will have more details once the guys get back from WWDC and we get some more info from Apple on what we can talk about etc.

Overall we could not be happier!

Regards,

Grant Petty
Blackmagic Design”

[Mathieu Ghekiere]

Yes we do.

I bought it when released, hated it. After the 10.0.3 update gave it Another chance.

Learned how to use it. Went from frustration to less frustration to loving the program.

Now, because of my experience, the company where i do freelance work switched from 7 to X, i am their Main editor. My friend/collegue now learned it from me after I said I was planning to do à full switch.

No NLE is perfect, but generally we have been VERY HAPPY with X So far.
My collegue now also for his private projects and other clients only uses X and Says that he could never go back to 7 because X is much faster once you get used to it.

[Mathieu Ghekiere]

I think relinking in FCPX by re-dragging them in the event is really a quick way, much faster then how it was in 7.

And did I mention that in FCPX, when you change the name of à file, change the name of the folder where it’s in, or change the place of where your file is, put it in Another folder, that despite doing all of this, as long as it’s on the Same drive your footage was originally, FCPX will relink automatically without you doing anything at all because it finds the file based on deeper metadata. This is great!

Although, you have to be carefull with opening a file you use in FCPX in Another program though. This can change the metadata, and then FCPX can loose connection with the file.

[Mathieu Ghekiere]

Seems to collide with the ‘New Mac Pro in late 2013’-rumor… Very curious to see what Apple will bring. Let’s hope it gets a place at the WWDC keynote.

[Mathieu Ghekiere]

As Kyle already said, you’ll have to make a Prores 4444 movie OR in Animation Codec.

Could be that in FCPX, you also have to go to the Info Tab in the Inspector of the Prores 4444 Files and see if there is (maybe in Extended View) a checkbox with Alpha turned on. Don’t know the specifics anymore, but I remember that there was something like that.

[Mathieu Ghekiere]

I can only say that I had all the same feelings when I first used the program (“ah, but in 7 I could just… and then I just…”) but those almost all dissapeared over time, and with updates from Apple.

You may have some very valid complaints. I also think FCPX needs to mature, and I have a pretty long wish list. But I switched 100 percent to FCPX. As you use the program more and more, you force yourself to do some jobs on it and complete them on it, you find other workflows etc, other ways of doing things.
And yes, in many cases it IS quicker and faster and more fun to use X. (not in all, but in many).

[Mathieu Ghekiere]

No, at this point it is not possible to select multiple clips and let FCPX sync them all at once.
You can make multicamclips with multiple clips at once, but that’s not the same. The *syncing* feature is one-by-one.

You could send feedback to Apple about this, like I did and have a feature request. At the same time, tell them to have it work reliable with timecode too 😉 According to the manual, the syncing feature also works with timecode, but in my experience it doesn’t. If a video and audio clip have the same timecode, but the video does not have waveforms, FCPX has trouble syncing them. I don’t know if it’s just not implemented well or a bug, but I sent feedback about it.

3rd party products would be
Plural Eyes (Red Giant bought it, I guess the newest version is compatible with FCPX, no?)
and Sync’N Link X by Assisted Editing, but it’s rather expensive, depending on how much you need the feature.

[Mathieu Ghekiere]

Once you begin working with
A. 6 layers of video, all with a timecode generator on top of it, sometimes in a timeline of hours long (we have some pretty specific needs)

B. Having video that needs to be exported QUICKLY, because you are exporting 10 things and they all need to encoded to H.264 and online in a couple of hours, for instance, then you really begin to feel the speed of Prores.

If you record in Prores LT (we use Sound Devices Pix recorders) and then export to Prores, they can be pretty quick. You also notice FCPX is a lot quicker in drawing it’s waveforms etc. in the background.
Again, the same with color correction and titles, …

That being said, for short form work, I’m sure H.264 works great. Any modern machine should be able to handle it. But sometimes you start noticing that the computer gets bogged down after you are pretty well into the edit. That’s why I’ve often learned that it (depending on your needs of course) it often pays of to first swallow a delay for transcoding some material into Prores, and then work with it, instead of having it crop up trough your edit and your exports, when you are mostly in need of time the most.