Mike Warmels
Forum Replies Created
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Looks nice, but I just spend over $600 dollars worth of drives. My pockets aren’t deep enough yet, I’m afraid. With this bay and drives that fit in there, would mean another $800 investment.
But no, sorry I simply don’t buy it. I just spent thousands of euro’s on a new Apple set up… It’s ridiculous that I should invest many hundreds of dollars more on expensive drives. FCPX isn’t some money scam, I hope.
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All aliases. I’m not a complete novice, even though you might think I am.
Yes, you could just buy more stuff, more more 3rd party apps and buy and buy and buy…. It seems that is exactly what Apple want: buy buy buy… But that isn’t fair to people who invest in this stuff. And Apple know I invest a lot. Even AVID supports people who work on older versions. Sometimes even provide patches for serious problems. Why is the answer if you have a problem with FCP: get the lastest version, the latest computers and buy more stuff? I don’t get it… that’s not very professional
And it simply doesn’t answer my question: why does FCPX need such an extraordinary amount of power and speed? What’s it doing that it needs so much more than the other NLE’s? What’s it doing when the Background Processes window is idle and you quit FCPX, it remarks that it’s closing down all ‘background processes”. Obviously FCPX is doing stuff no one knows about and no one knows how to shut it off.
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I know it’s different. The point is: what IS the proper set up for this NLE? I’ve got the latest MacPro, been set up by a specialised Apple Reseller… I simply cannot put dozens of hours of footage in my internal hard drive. Apple has decided you only get ONE internal hard drive on the latest MacPro… so for all the different shows, programmes and corporate video’s I simply HAVE to work on external drives.
To buy SSD external hard drives with Thunderbolt will most certainly improve things, but I’d be spending a fortune on them. Knowing that USB is fine for 2K (or even higher streaming) that still doesn’t answer my question why FCPX needs such an extraordinary amount of power and speed to work properly on 2K. Or is it Apple trying to constantly make a buck out of us?
That said, what IS the proper way to manage the media/libraries/chaches? FCPX 10.2 has only been out for a little while and I’m sure it’s better than 10.1.4. However, very few professional set-ups can immediately update immediately once an OSX or FCPX updates comes out. All drivers of all equipment part of the set-up have to come along. And the manufacturers can only do it once it actually comes out, since Apple doesn’t release anything prior to the official release. But are the mediamanagement preferences so much different? Or was 10.1.4 just a crap version?
When it comes down to AVID you actually might expect that kind of 4K performance on AVID now, since it completely supports 4K and the unrendered playback on AVID is on 2K better than it is on FCPX, so who knows. I’ve not worked with 4K, but I wouldn’t underestimate it beforehand.
Nevertheless, basic mediamanagement is the same on EVERY AVDI set-up. Why does that change with every FCPX version then (if 10.2 does all that so much better). -
Ah, that’s very interesting to hear. I run into little bumps here and there in the exchange. So far they say fcpxml is the way to go, but your experiences are a bit of a bummer.
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It’s very easy to have duplicate frames, or bits of a shot. Especially if you’re trimming (extending a shot) in the timeline. To see duplicate frames in your timeline is quite handy.
Now, I do understand that if you see something is used in the browser, you wouldn’t reuse it. But often I cut within a shot. If you’re trimming to finetune, it’s kinda nice to see where you ‘hit’ the previously used frames if you’re using the continuation of a shot after a cut away. The information is so detailed, the browser is not gonna help you there. Not in one glance.
So yeah, I’d certainly like the duplicate frames to show up in the timeline. And it’s a simple thing to programme, because this is just matching numbers/clip name/reel names…. All numbers…
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If you export from AVID to AAF. it works with most audiostudio’s: protools, Nuendo… I work with sound editor on a variety of systems.
Then there’s X2Pro to solve the audio export, making an AAF. But there you are, obiously you need third party software to make FCPX work the way other NLE’s work.
Still, and fcpxml should do the trick when it comes down to Resolve. Maybe you should check out the workflow book they did on the feature film ‘Focus’. You can get it from iBooks. They tell you how they did it.
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Yeas, I have an upgraded 2009 MacPro tower, having the same issues there. Imagine my surprise after buying the quite pricey trash can and having the same issues.
Just did a lats farewell project on FCP7 and that program ran like it’s not run for quite a while: fast (ish)… faster than FCPX…
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Ah, no, I cut it on AVID… So four HD streams from four external USB2 discs.So I don’t understand why FCPX apparently needs so much power, memory etc.
I’ll try putting the cache on my internal HD… but this is where I hope 10.2 will so something better. It’s like FCP7 you kinda have to manage the mediamanagement yourself and with me nothing seems optimal. Personally, I think this is where AVID excels. The mediamanagement of AVID is solid to the bone.
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That is why I hope someone can shed some light on what’s going on. Because FCPX does not provide smooth editing to me.
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Yes I know.
But a USB3 drive isn’t slow. I remember I cut a documentary series a few years ago, full HD, on a 2009 MacPro with four external harddrives on USB2. And it worked like a charm. Now, my computer is much faster, the drive is much faster and still, working HD on FCPX needs unlimited power it seems.
But I will try the cache thing. Anything to stop FCPX slowly grinding to a halt within 2 hours.