Nicholas Kleczewski
Forum Replies Created
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Actually background transcoding does stop when you are editing if Avid feels it needs to too keep up. This was confirmed by Bob Russo at the Supermeet. Not a big deal in my opinion just didnt want people to get their hopes up.
Director, Editor, Colorist
http://www.trsociety.com -
Yeah, people were a little over doing it with the whole FCPX is no where to be found thing. It was all over the place. Shared Storage company, DAM software, ingest, filters, etc. just not actually Apple.
But he is absolutely right about Adobe. They were so passionate about what they are doing it was hard to not be impressed. I have an entire company to turn over to a new system soon, locations in NYC, LA, Vegas, Richmond, VA Beach, and Adobe just made the decision more difficult for me!
Director, Editor, Colorist
http://www.trsociety.com -
It has been pretty well documented on creative cow and others that FCPX does not run on a MacPro nearly as well as it does on an iMac or MBP in the area of the issues you are talking about. Doesn’t matter if its a brand new MacPro or the age of the one your describing. I’m sure theres weird tuning reasons by engineers as to why this is and them just never bothering to make it work as well as it could with old tech but, most pretty informed people think it as something to do with this:
https://software.intel.com/en-us/avx/
Apple mentions it quite specifically here:
https://www.apple.com/finalcutpro/all-features/Basically FCPX wants to take advantage of some modern extensions that let FCPX zip that dont exist in the processor family that MacPros use. There seems to be no feasible way to completely know for sure if this is true, and of course Apple would never admit, but at this point it seems to be the answer.
I would argue, that yes, rendering matters, a lot. So multi proc, all you can throw at it matters. But what matters more, what happens when you walk away, or how the program feels on a macro second to second basis stalling just that tiny bit with every decision you make. I’ve gone back and forth on numerous projects small and huge between MacPros and my macbook retina and the difference is apparent very quickly.
Basically, don’t waste another penny on MacPro upgrades if all you need it for is FCPX, the new one is imminent at this point lets face it and will at the very least support a processor with AVX and god knows what else.
Director, Editor, Colorist
http://www.trsociety.com -
I second that idea, or just let the audio come in and then deselect it in the inspector after the fact. convenient more if you want to quickly do it across a number similar edits.
Director, Editor, Colorist
http://www.trsociety.com -
Precisely, which is what my post did suggesting a workflow for him instead of whining any time I think my small shred of expertise in this world is called into question by someone who might have a different or even better perspective.
But hey, it wouldn’t be much of a creative cow forum without em’! There’d literally be 1/10th the posts…
Director, Editor, Colorist
http://www.trsociety.com -
I just synced a 2 year long documentary that has over 10,000 clips, shoots with 2 cams, shoots with 10. Sorry, but anyone who thinks Plural Eyes is less capable than FCPX’s built in sync is only working on simple projects and hasn’t experienced what taxing either looks like. Absolutely no comparison in speed or capability.
Director, Editor, Colorist
http://www.trsociety.com -
For what he is doing I agree FCPX should be able to do it no problem. But there is definiately a huge difference in what Plural Eyes is capable of versus FCPX. Plural Eyes can chew through just about anything you throw at it. FCPX can get confused quick if anything is out of order or things dont fit in the at little invisible window of sync with audio.
Director, Editor, Colorist
http://www.trsociety.com -
Try using the feature that allows you to “Import Media as Take’s” This allows Plural eyes to make more decisions on where each clip should go in relation to the audio.
I’ve thrown every kinda complicated scenario one can think of at Plural Eyes and as long as it received everything logically, I’ve never had a problem so I have to believe it can handle this.
The only trouble I could see is if you had tons of takes where the exact same dialog was being delivered over and over again with little to no noticeable deviation from take to take. I.E. the actor was so on a one note performance from take to take theres no discernible difference between them. Thats the only time I’ve seen Plural Eyes give up.
good luck
nickDirector, Editor, Colorist
http://www.trsociety.com -
Not sure if this helps you, but I ran into these same issues when I ran FCPX on a MacPro, which I don’t think you’re using here. But I noticed a significant difference in video output performance when using using a single computer monitor vs 2. Not sure why as I was using a GTX285 at the time which was more than capable in handling all that, but switching off to 1 helped a lot.
The other thing that helped was having quit out of other apps, most notably Safari. I’m betting you’ve tried these kinds of performance maxouts, but figured I’d mention it.
Then of course last and not preferable is a master export, then either reimport are use Blackmagic’s dedicated Media Express program to output to tape.
Hope something works for you.
Director, Editor, Colorist
http://www.trsociety.com -
And can anyone tell me what purpose a jog wheel really serves at this point, real or virtual? FCPX especially. It has moved beyond what a jog wheel can offer in terms of performance and precision. The rest is just keyboard shortcuts people can force themselves to study a little harder.
Director, Editor, Colorist
http://www.trsociety.com