Noah Kadner
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I can’t imagine they wouldn’t send you the developed film along with a digital copy. Hopefully in nice ProRes 444 and not something silly like H.264. Can you imagine….
Noah
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This seems like a lot of worrying about a very rare issue. If the power where you are is seriously unreliable and you often leave FCPX rendering you could take things a step further.
For example- kick off an IFTTT notification to your mobile device whenever the UPS tries to shutdown due to power loss. Then you run Team Viewer or similar VNC alowing you to remotely screen share and confirm the system is actually shutting down before the battery is exhausted.
That or never leave the system unattended when a render is going.
Noah
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Sorry for the detour- bottom line is no auto-sync for you.
Noah
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Here’s the real rub:
“Processing the film should cost $50 to $75 a cartridge”
A Super 8mm roll is good for just under 3 minutes and that price is on top of the cartridge itself. Can you imagine spending $100 just to capture 3 minutes of footage at a resolution far below what you can get right now on just about any current smartphone? (I’ve seen Super 8 scanned up to 1080p on a Rank and it really starts to fall apart so forget about anything like 4K.)
Sure there will be a few high profile hipsters who make some noise with this gear for a short project or two but if this is Kodak’s gameplan to become relevant again to indie fillmmakers, they’re doomed.
Gimme a 1000′ load of 35mm I can shoot and process for under $100 and you’ll get my attention. For most would-be filmmakers the aesthetic appeal of film was never in question; it was all about the economics.
Noah
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Shazam is actually incredibly complex but it relies on the fact that mathematically speaking every song has a unique DNA that can be quantified and matched from a database- just like your DNA and your fingerprint. How it works:
https://gizmodo.com/5647458/how-shazam-works-to-identify-nearly-every-song-you-throw-at-it
Which is not to say that audio sync shouldn’t be made smarter and able to account for substantially similar, though not identical waveforms. But at this point it doesn’t.
Noah
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Yep- it would be awesome if automatic audio sync were smarter but it’s really just looking for audio waveforms that are more or less identical over time with differences only in relative impedance.
This is like expecting two siblings to have identical fingerprints. Hence you’ll need to use the processor in your head.
Noah
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Nope that’s going to be a manual sync most likely.
Noah
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I can’t see your footage from here but breaking a project across multiple libraries makes no sense unless we’re talking hundreds of hours of footage. And even then if it were all related I would likely still do within a single Library for simplicity’s sake.
You can organize within using Events, Keywords, Folders, Smart collections etc. Libraries are silos unto themselves and cannot share metadata. So from a purely organizational perspective, there is no benefit to breaking a job across multiple Libraries. If your concern is hard drive organization, keep the media outside the Library and you can store it anyplace you want.
Noah
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In other news, Wells Fargo is reviving the stage coach. Not sure if it’s going places…
Noah
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Sorry but these results aren’t much to go on. Factors like original source quality, export settings, monitor calibration etc aren’t being reported. I don’t doubt that to your eye and on your gear something doesn’t look right.
However as someone who has used FCPX as designed to create content for years, your personal findings don’t jibe with my own experiences and those of other professionals I work with.
Quality of export in X in ProRes is as good as it gets. As for H.264 that’s a lossy codec and you get what you get. I suggest Compressor or Episode if you want finer grain control over specific compresssion parameters. And that’s all there is to it.
Noah
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