Nicholas Kleczewski
Forum Replies Created
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I too can attest to the slugish responsiveness. Granted it takes me working on a fairly complex project, but nothing any nle couldn’t handle in the past.
I bet others would agree, but you can almost feel it incrementally get slower with every new edit decision, effect, compound clip (still the worst offender)
I don’t know if it’s related to the database style that FCPX is built on but it’s like FCPX is engineered to juggle some exact number of balls at once. Stay under that magic number of balls and it’s a blazing fast experince. But the minute you add even a single ball over that limit the whole system collapses and the juggler is sweating bullets keeping up with what’s falling from the air.
I’ve mentioned this before, and I’m speaking totally ignorant of how fcp is really juggling all this info at once, but I wish there almost a conveinence vs performance slider you could change based on the needs of a new project.
30 sec simple spot? Slide to full conveinence mode and sail right through it. Editing a 30 min show with tons of footage, effects etc? Slide to performance mode, lose some of the thumbnails, waveforms etc on the fly but get fcp7/avid user interface responsiveness back.
I’ve literally lost hours on projects adding up all those little half – 2 sec pauses on every decision. It can be quite a soul crushing experience.
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I have a friend pretty closely connected to that whole situation and it pretty much all was a big PR stunt to get publicity and free stuff. Almost immediately theres was mega problems, particularly at that time when getting in and out of FCPX to other professional tools was much more difficult.
Anyway, not piling on FCPX at all, i couldn’t be a bigger supporter and at this point pretty much don’t think there isn’t anything it can’t handle. Well, except huge huge databases but Im all but sure thats going to be fixed very soon…
Director, Editor, Colorist
http://www.trsociety.com -
This forum, nay, this site would be a baron wasteland of empty threads and videoguys ads if any of what you said here were “how it is” on here. Unfortunately the people doing most of the real work out there, just don’t have time for the lunacy, so we for the most part sit back and smile with slight repressed sadness and read the horror and the drivel most post about. Sometimes we come out of the woodwork to respond to something of value or to pipe up with things have gone just topsy turvy, but thats about it.
“my only mistake is I’m hoping…”
Director, Editor, Colorist
http://www.trsociety.com -
What’s silly about this whole discussion is, news flash, narrative features are actually some of the “easiest” things to cut, in any editor. Easiest I mean, in the technical sense. Not at all speaking to the creative here.
Usually mostly cuts, scripted, a beginning, middle, and end thats already been decided, just many versions of that to weed through. All sorts of different departments handling every aspect of the film that doesn’t involve a cut. FCPX was ready the minute its XML export/import took hold to accomplish the needs of I’d say 90 percent of big budget feature film editing.
I’m more impressed when people talk about their work making verte’ style feature documentaries, or highly experimental films where every trick in the book is attempted. Hundreds of hours of footage, any shot could be the first, any the last and having the tools in place to sort through that mountain to make a compelling story. Thats the world I’m interested in hearing success stories.
Big budget narrative cutting, from a technical standpoint, who cares? The EPKs for that mystery film will tax the editing tool more than most likely the whole feature will.
Director, Editor, Colorist
http://www.trsociety.com -
Agreed. Favorites have been flawed since the beginning, In fact have gotten worse. They sort of used to work as a subclip alternative until they made it so the autoselect defaulting back to the original clip rather than the favorite making naming it with just keyboard strokes impossible.
Another terrible bug, if you do log your favorites, and then ever accidentally over lap two favorites in/out points, all the meta data gets erased and back to “Favorite” awesome…
Director, Editor, Colorist
http://www.trsociety.com -
Cool, literally the only “extra” item there that anyone in a professional environment doesn’t deal with already is the external video box connection. Any pro environment is already running a cable out to mass storage, not using internal at all, not using the internal drive much as it isn’t blu-ray or even needed at all, etc.
Also, you could wrap your video I/O, fibre, whatever you wanted into a single external magma expansion chassis. Disconnect and take your MacPro with you for a job. Traveling with a current mac pro is a nightmare.
Its not a non-issue to be sure. But the people really complaining about cabling can’t possibly be arguing from a professional standpoint here, its ludicrous.
Director, Editor, Colorist
http://www.trsociety.com -
I demo’d this quite extensively at NAB. It is in no way whatsoever meant to be a NLE replacement. Its there to fix mistakes in conform, do some basic onset playing around of ideas, and watermarked proxy generation. For those purposes its fully featured, to even remotely compare it to any tool on down to iMovie is just incorrect.
Director, Editor, Colorist
http://www.trsociety.com -
Hey David
I would be interested in talking some more! I could not for the life of me figure out contact info or messaging on here, my email is nicholask [at] studiocenter [dot] comDirector, Editor, Colorist
http://www.trsociety.com -
The new camera does support Cinema DNG files. They screwed up in their literature. I asked the lead engineer about all of that. It’s def in there
Director, Editor, Colorist
http://www.trsociety.com -
I got to demo it pretty extensively and got kind of lucky as the made woman demoing had to step away so actually one of the lead engineers on the team did it for me instead. He wasn’t a good presenter but he clearly knew everything going on under the hood so I asked what I could.
First of all, it was very impressive, everything ran butter smooth and you didn’t get any noticeable artifacting in the footage unless you were skimming very fast, but it was totally tolerable.
I asked the basic question, so am I basically just looking at an h.264 feed of my footage here, sort of like OnLive is for video gaming? He wouldn’t commit to say it was specifically h.264, but he did talk about how its an Iframe codec being used. He noted this being important so they could keep the quality up, but also will require Up bandwidth to be fairly solid (which is where most people’s bottlenecks really are). But they are already working on a Long Gop version of Anywhere that will allow much broader connection types to take full advantage but the engineering challenges of streaming long gop in real time with frame accuracy to an editors skimming desires is a huge challenge.
They haven’t posted any minimum internet speed requirements yet, or price. They said they literally haven’t even figured out yet what it should cost.
The demo they had was streaming footage from their systems near or in San Francisco.
Director, Editor, Colorist
http://www.trsociety.com