Michael Hancock
Forum Replies Created
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Thankfully I haven’t seen this and I’ve been using Premiere exclusively for the last two months, but we rarely move files once they’re on the server, and when we back projects up we just take the entire folder structure and drop it on a drive. I imagine that minimizes the reconnect dance, and when we do take projects offsite use the Project Manager. That might also help.
I do miss Avid’s media management though (and toolset). So simple but so powerful and elegant.
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Michael Hancock
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[Benjamin Lundin] “I guess I will have to ask my self the same question I do almost every day;
Avid vs. PPro”
Use the one that’s best suited for the job you’re working on. I only used Avid at my last job, took a job that was all FCP, we’re on Premiere now and I’m trying to get an Avid system installed. Premiere is brilliant for our short form work or effects heavy work because of its integration with After Effects.
Avid would be perfect for our longer form stuff or straight editorial. We’re making Premiere work for these projects but Avid would be better suited for them. Hopefully we’ll have a few seats by mid-year.
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Michael Hancock
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[Shane Ross] “PPro…one clip at a time. It doesn’t do everything in a relative path. One…clip…at…a…time.”
Premiere does better than that. If you move a bunch of stuff and relink one file it will check the rest of that directory for matches to your other media and relink what it can. If your media is from multiple drives/folder you might need to relink one clip from each drive/folder, but it will find other stuff too without having to go on a clip by clip basis. I imagine it uses the same media management as AE, as AE will search a directory for offline media matches once you relink one file.
It’s not nearly as good as Avid, obviously, and isn’t as smart as FCP (there’s not search and relink option – you do have to manually find at least the first file), but it’s better than 1 clip at a time, unless I’m misunderstanding what you mean.
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Michael Hancock
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Keep reading the next paragraph Shane. Mediacopy 3 also reads bin and prject files for archiving. It does exactly what the OP wants.
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Michael Hancock
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Avid Agility by Steve Cohen:
https://www.amazon.com/gp/aw/d/1460985451/ref=redir_mdp_mobile?redirect=true&ref_=as_li_tf_tl&tag=splnow-20&linkCode=as2&camp=217145&creative=399349&creativeASIN=1460985451Also look for Steve Hullfish stuff. I think he has DVDs and maybe stuff on Lynda training. His stuff is good. And check out the Avid forums for tutorials from a man named Douglas. I believe he has over 200 tuts up for beginners in Avid.
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Michael Hancock
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https://automaticduck.com/products/mc/
Download mediacopy from the link above. It’s free now and will do what you want. Every Avid editor should have it in their toolbox.
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Michael Hancock
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You’re talking around the question Bill.
[Bill Davis] “And what does “require a re-wrap” mean in the modern context.”
The same thing it’s always meant. Can it read the native file that comes off the camera or does it rewrap it as a Quicktime, or transcode it to a Quicktime. Let’s not play semantics and redefine things (we’re not Apple) – does it read P2 .mxf or does it have to be .mov? XDCam or .mov? Pretty basic question and elementary thing to expect a modern NLE to do (read camera native files).
[Bill Davis] “What Apple re-built X to do was to accept a variety of formats on ingest (not universal, but pretty functional, IMO) and then do the transcoding in the background while letting the editor go about the business of doing the work of editing.
It’s a smart modern approach that I understand other software employs as well. “
Is FCPX’s implementation really that smart? If it requires .mov files for everything it fills your hard drive up with duplicate media as it rewraps in the background. Even if it happens in the background, is it really necessary?
Other NLEs function quite differently – Avid reads a ton of stuff native but some formats are more usable when transcoded (but not in the background – hopefully in the future). Adobe and Edius are all native all the time, until export. I believe Vegas is mostly native right now, isn’t it? I’d venture to say FCPX has the smallest list of natively supported camera files, and it’s a “scrape to the foundations and rebuild for the modern era” NLE.
[Bill Davis] “And I suspect that as workflows like X’s grow in popularity – we might see more “transcoder boxes” that let you add hardware t to work efficiently with your particular flavor of footage. Isn’t this essentially what the KiPro and it’s kin are? They take a feed and do a ProRes transcode on the fly. “
Workflows like X’s? What is that workflow? Requiring Quicktime files to immediately begin working, or is it something else? That’s very vague Bill. Let’s be specific to really discuss the benefits, and drawbacks, of FCPX in a modern world.
KiPro is great for something like a DSLR, but for XDCam? P2? AVCIntra? The camera’s native files are fine on their own – the issue is with FCPX’s ability to handle them, isn’t it? Background transcoding is great and sounds like it’s implemented very well, but it shouldn’t be necessary for some of this stuff. I may be wrong though – FCPX may playback P2 .mxf files fine, right off the card, without rewrapping, but you never answered that. Does it?
[Bill Davis] “So only those that NEED the ability for super-rapid conversion have to pay for it.
Everyone else has to deal with the “slow but built-in” CPU or GPU based transcoding.
Seems perfectly fair to me since the other path is that the engineers have to “optimized” the software for all manner of footage types that I may never actually use.”
Avid and Edius and Adobe and Vegas are able to provide playback of all types of footage (some better than others). Either they have brilliant engineers or Apple decided native camera formats aren’t important or necessary (like tape?).
These are things I think should be considered when talking about how FCPX might grow for the future and how it integrates into modern workflows. When a new camera comes out, should FCPX support the native camera files, or should the camera manufacturer program their camera to record to multiple codecs and file formats? Or should camera men and women purchase hardware transcoders for clients that choose NLE A rather than NLE B? Where does the responsibility lie?
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Michael Hancock
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[Bill Davis] “Since X is a modern work in progress – it’s up to the reader to consider whether as X moves into the future where Red, DPX and ARRIRAW are increasingly relevant – X might adapt really well to those needs.”
Current, smaller data formats – how does it handle P2, AVC-Intra, AVCHD, and XDCam? Native file format, or does it require a rewrap?
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Michael Hancock
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Batch Import always imports the entire file again. Avid can’t import just the middle section. It only does that through tape capture.
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Michael Hancock
Editor