Michael Kammes
Forum Replies Created
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Neither Avid nor FCP support REDROCKET for playback.
Avid 5.0 can use it for exporting, however.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
Yes, if you do not need those templates and media, you can save space. You are asked what to install during the FCStudio installer process.
If you have another spare drive bay in the CPU, yu may want to consider another SSD or HDD.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
Well, that certainly cuts down on free space for multiple OSes.
I’d go with 2 partitions as a compromise:
1: FCP and CS5 (64 bit) Make this partition larger than the Avid one.
2: Avid (32 bit)Don’t install a lot of the demo loops and ancillary stuff from the FCStudio install discs onto the FCP partition unless you need it; it eats up alot of space.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
It works. I currently have CS5, Avid, and FCStudio on the same 10.5 partition, in a non production environment.
Is it optimal? No. Here’s why:
Avid is a 32 bit app, and doesn’t play well in 64bit. Thus, we need a 32 bit Kernel to run Avid successfully. Installing CS5 in 32bit decreases the speed of some of the Adobe 64bit apps, and FCP, to a certain extent.
FCP and CS5 can run in 64 bit.
So, in theory, you could always boot into a 64 bit kernel, then revert to 32bit when you want to run Avid. All of this could be done on 1 partition with a few keystrokes.
Because FCP is quicker to operate with newer OS updates, it makes it easier to run software updates on your system. Adobe is not as fast, and Avid is slower.
Because of this, I recommend 2 (FCP and CS5 on one, Avid on another), if not 3 (each on separate OS) partitions. This will allow you to update software, drivers and OSes without effecting other applications…PLUS, if one OS gets hosed, you have another as backup.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
Using QT as the “conduit” will still not guarantee RT performance, it’s a crap shoot.
You can always batch transcode to ProRes, edit, then send the sequence to Color after you relink to the RED files. I know you don’t want to do it, but for ease in editorial, I still endorse it. You are, of course, editing a 30sec spot, so it may not be as torturous as lets say, a feature.
Remember the concept of “Pay Now or Pay Later”.
Pay Now: Transcode to ProRes at the beginning and avoid the suffering of constant rendering or stutters during playback, and have a smooth output.
Pay Later: Deal with rendering for everything, and possible output problems when you have to transcode for the output later.
I find the most stress is at the tail end, not the front end…so I opt and recommend paying now.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
Most likely you need an S-Video breakout.
S-Video is Luma & Chroma, separated, which is why it’s a better signal that composite. To accommodate this, you need the S-Video connector.
The Multibridge wants the 2 signals separated. Thus, you need an S-Video breakout cable (also known as an S-Video pigtail), which is an S-Video “head”, with 2 BNC outputs. These are then plugged into the Y and the C connections on the Multibridge. (It may be labeled differently on your unit)
I do not know if the Multibridge comes with one or more; every Pro device I’ve purchased that requires this breakout (very common, BTW) ships with one or more.
Here is a pic: https://www.cablesondemand.com/Images/Products/subcat/SVHSBNC.jpg
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
Yikes! Aside from the client needing an education….
FCP does not play the RAW RED file currently. You have to use the QT Extraction / Wavelets. Thus, the “H” Quality will be your choice.
I suspect your Nehalem will be acceptable for limited editing, but do not expect 100% success with RT playback. In addition, virtually none of your effects will be RT.
FCP cannot utilize the RR card at this time. You can, however, load up RED CINE-X, for example, on the same Mac to generate any other QT files you may need.
ALl of this being said…I can’t stress enough the workflow to flip the RED to ProRes, for either an offline, or a high enough quality for it to be your master. Seriously. Hundreds of my clients do this – and thousands more around the world. THE FCP native workflow is very limited, and I find ends up tying the hands of the people during editorial more than helping.
Good Luck – you’re gonna need it!
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
Media Composer 3.0? That may be the problem. Are you sure you are not in 5.0?
Are you on a standalone station or on shared storage?
Mac or PC? Metafuze is PC Only, but that doesn’t mean you’re not cutting on a PC.
You say “The material was transcoded for me from ProRes to mxf. “, but you mention Metafuze later. Did you use metafuze to create the MXF files?
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
Not easily.
MXFs are difficult to play in standalone players, and the Avid *tweaked* one is even more difficult.
Using FFmpeg, you can ‘force’ the file to play, but that’s using CLI switches. It’s free, but not streamlined. I believe companies like Calibrated Software ( https://www.calibratedsoftware.com/ )sell a plug-in for your media player du jour that can do it, I think it’s under $100.
You may be better off sorting the MediaFiles folder by date, and deleting accordingly, or using MediaMover (https://www.randomvideo.com/products/mediamover_avid.html ) although I do not know it’s capabilities with v5.x.
Good Luck!
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com -
Although I (still) don’t have an answer for the pops, I do have 2 notes:
WAVs not being FCP friendly? I’ve never encountered that. MP3s – yes, definitely, but WAVs have always been a-OK.
As far as OMF exports, I get around the 2GB issue by exporting single audio tracks or dual audio tracks within an OMF to keep under the 2GB file size limit. This may make for 5-10 different OMF files, but since the TC is embedded, they all line up, and Pro Tools can import multiple OMFs into 1 timeline (albeit one at a time).
I have a nice multipage doc I create don prepping audio for PT, if interested: https://michaelkammes.com/audio/prepping-and-exporting-for-post-audio-in-final-cut-pro/
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com