Oliver Peters
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Forum Replies Created
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[Rich Rubasch] ” have 19 years of legacy project with clients who still play DVDs and I need a system to be able to run DVD Studio Pro and other legacy apps and plugins.”
Just keep a separate 2009-2012 MacPro tower up and running for this sort of work. Leave it frozen. Then get a new machine of some sort for current software or update your iMac Pro. But stop at Mojave for now.
– Oliver
Oliver Peters – oliverpeters.com
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[Shane Ross] “The thing is, Michael, it USED TO WORK. I recall doing this with P2 MXF files…just being able to drop them in a numbered folder, Avid would generate the database, and I’d drag that into a bin.”
Difference between OP1a and OP-atom flavors of MXF. One (OP1a) has interleaved audio, the other (OP-atom) has separated audio. That was P2 (OP-atom), which is how Avid is set up. That’s why P2 worked.
– Oliver
Oliver Peters – oliverpeters.com
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[Tangier Clarke] “Could it be that Adobe is going directly after AVID with this update and in one way or another ignoring FCP X and it’s potential. It still seems to be built around co-located teams with a NAS as Joe mentioned.”
I think the very simplistic answer is that Avid and Adobe are going after one type of customer and Apple after another. In super-simplistic terms, the “filmmaker” crowd versus the “YouTube” crowd. I don’t mean that literally, nor do I mean to imply professional versus non-professional.
There is certainly some overlap and I think Apple would be more than happy to have as many “pro” filmmakers on board as possible. But there are probably way more solo editor/preditor types and enthusiasts using FCPX than Media Composer or Premiere. That sets the agenda for ProApps development. Look at other comparisons: Logic versus ProTools, Motion versus After Effects. They each seem to carve out their own market sectors.
Since the launch of FCPX, the development has steered away from the direction of increasing complexity, which was the path of FCP “legacy.” Multi-editor collaboration on-prem is complicated and so, it might simply not benefit the marketing aims of Apple.
– Oliver
Oliver Peters – oliverpeters.com
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[Herb Sevush] “Once I was up and running I could then use CCC to clone the external to the internal startup drive and voila, new machine with rolled back OSX. This is now no longer possible, he says after wiping up his tears.”
I’d bet that’s one of the things Catalina is trying to clamp down on. Although it might still be possible through Time Machine or with an upcoming version of CCC (speculation only). Both CCC and SuperDuper are still working out the kinks of Catalina compatibility.
– Oliver
Oliver Peters – oliverpeters.com
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[Tony West] “He obviously wasn’t concerned with speed using that old program. He seemed more concerned about getting things just as he wanted them. Food for thought maybe.”
FWIW – speed of the software is rarely an issue with feature film projects. It’s more about how the tool can facilitate the creative process for the editor and/or the director. Each tool has its pros and cons when it comes to that. This is one of the reasons that Avid Media Composer is still the “go to” NLE for veteran feature film editors and why the things that FCPX fans love about it don’t necessarily move the needle for a lot of editors cutting films.
– Oliver
Oliver Peters – oliverpeters.com
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A friend of mine went through similar issues. He was migrating his drive from a 2013 Mac Pro to the new Mac Pro. Ultimately 6 days of hell, but it was finally all resolved. He had to first update his trash can to Catalina and then create a new Time Machine back-up of it. Then that could be used to “recover” onto the new Mac Pro.
Did you check 64-bit compatibility with all of what you had installed before beginning this process?
Personally I would only advise doing a fresh start on this machine, de-authorizing and then re-authorizing any licensed third party apps and plug-ins. This is a new machine and the T2 security chip introduces a lot of gotchas.
As far as OS roll-back, you generally have never been able to do that with Macs. At least not in a supported way. It’s usually the case that the earliest you can go back to is the current OS at the time that machine was shipped. This would be Catalina for the new Mac Pro. Catalina changes the OS structure for better security so that apps cannot be modified by malware.
FWIW – Avid still has not qualified its software for Catalina.
– Oliver
Oliver Peters – oliverpeters.com
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Not really any new thoughts. I have 9 systems set to have this toggle on and renders and playback are fine. This is all with SDR material. I have yet to see or hear anything out of Adobe as to what this control is actually doing. The issue for me seems to be localized to ARRI Alexa Mini files with the embedded Amira LUT.
– Oliver
Oliver Peters – oliverpeters.com
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[Jeremy Garchow] “But it’s doesn’t seem like a crazy ask.”
I would refer you to my blog interview with Steve Bayes about the product development process. ☺
https://digitalfilms.wordpress.com/2019/11/09/a-conversation-with-steve-bayes/
Apple is always balancing what features benefit the greatest number of its users against the R&D time. There’s another issue at foot, however. That is the OS itself, which has increasingly become more locked down. This in turn may affect what you can and can’t do with collaboration in FCPX. For example (spitballing now), what if the Pro Apps team knows that security will get even tighter in an upcoming version of the OS? In that case, it might be counter-productive to build in a collaborative feature now that might break at some point in the future.
– Oliver
Oliver Peters – oliverpeters.com
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[Joe Marler] “I’m sure Apple is considering the cost/benefit ratio of various FCPX collaboration schemes.”
Apple’s philosophy has been about empowering the individual. Given that, this feature may simply not fit their goals.
– Oliver
Oliver Peters – oliverpeters.com
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[greg janza] “Why is this so challenging to implement in other NLE’s?”
Because from the very beginning, Avid designed a file and database structure that turned out to be conducive to collaboration. Whether this was out of necessity, foresight, or dumb luck is unknown. (Maybe some early Avid folks will see this thread and chime in.)
Unfortunately, this was not the case with Premiere or Final Cut. Adobe has figured out a way to get around that with this new feature. I had also thought the original FCPX format (before Libraries) would make this easier. But the bottom line seems to be that neither Apple nor Adobe started with a data format that made this easy.
– Oliver
Oliver Peters – oliverpeters.com