Oliver Peters
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Forum Replies Created
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[Tangier Clarke] “Perhaps with Catalina I’ll see better numbers.”
From what I’ve seen in various tests and blog posts, it’s about the same under the two OS versions. In fact, a few were slightly slower under Catalina. The change is mainly in the FCPX update only. I would avoid Catalina as longer as possible, though, unless you can go with a completely clean install from the ground up. Especially on older machines.
But, looking at your stats, there’s not a whole lot in that that would be accelerated by the update. This update helps things that are GPU-intensive, like lots of effects filters. That’s why the BruceX test shows shows big differences.
– Oliver
Oliver Peters – oliverpeters.com
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[Marc Wielage] “I’m a big fan of the Other World Computing Thunderbolt 3 docks.”
Same here. CalDigit is another good option. Each has slightly different mix of ports.
– Oliver
Oliver Peters – oliverpeters.com
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Sony A7 files will provide horrible playback performance on all systems. It’s NOT an edit-friendly codec. Transcode.
– Oliver
Oliver Peters – oliverpeters.com
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[Michael Gissing] “The idea of a centralised storage of camera originals at full res and therefore the need to buy hard drives becoming obsolete – maybe but the short time frame is rather optimistic.”
I completely agree, but obviously that’s the goal for Michael and Frame. Ultimately a lot of manufacturers are pushing the idea of all media in the cloud. No on-camera media (other than as a buffer), no hard drives, no on-site NAS/SAN storage. Naturally your local capital expenses would go down, however, that locks you into a permanent subscription model far more objectionable than Adobe’s or Microsoft’s.
What happens 5 years down the road when you want to stop paying and you want your media back in your own hands? Will you get hit with a massive download or offload charge? What about liability? Is Frame willing to warrant the replacement value of your production in the event of a catastrophic failure (never say never – think Universal Studio fire)?
Obviously a lot of things to iron out.
– Oliver
Oliver Peters – oliverpeters.com
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Circling back to the point of this thread.
More about a lot of things directly from Cioni.
– Oliver
Oliver Peters – oliverpeters.com
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[Giampaolo Moretti] “Not the same on 2013 MacPro Trashcan. Here nothing change. Not even a little faster
All the systems have Mojave 10.14.6 and 64Gb RAM.”Interesting. I’m on a 2013 8-core and it definitely feels faster to me. Are you talking about media handling or interaction with the interface itself? If media, what format and codec? What type of storage?
– Oliver
Oliver Peters – oliverpeters.com
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[Eric Santiago] “Is there an advantage to starting at your timecode?”
It depends. This is really based on older broadcast standards and linear editing, but is often still requested by distributors.
Typically it would be a 01:00:00;00 (drop frame) start in the US and 10:00:00:00 in Europe. The idea being that bars and slate would be in the area of 00:58:00:00 to 01:00:00:00. You couldn’t start before 00:00:00:00 in linear TC, since that would be “rolling across midnight”.
In any case, it made timing easier for a linear editor, since the program would start at :00 (offset by 1 hour). Of course, in today’s file-based world, it doesn’t matter much, unless you have slates, bars, etc.
Regardless, this seems like a bug or an oversight. I’m pretty sure it worked with a 01:00:00:00 start before, but I could be wrong. It’s fine in Premiere, so it appears to be an issue with the application, not the closed caption standards or anything like that.
– Oliver
Oliver Peters – oliverpeters.com
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And the answer is…
The project (sequence) timecode has to start at 00:00:00:00 otherwise it doesn’t work. My sequence was set to start at 01:00:00:00. After modifying the sequence start back to 00:00:00:00, then closed captions were properly embedded (and visible) in the exported master file.
That doesn’t appear to be documented anywhere and certainly seems like a bug to me.
– Oliver
Oliver Peters – oliverpeters.com
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Relink and do final assembly in Resolve.
– Oliver
Oliver Peters – oliverpeters.com
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[Michael Gissing] “although the specific issue I raised of the pace of development and improvements wasn’t commented on”
Isn’t that in the eye of the beholder? Blackmagic’s pace has been fast with Resolve, but a lot of that effort has been in making it an all-in-one solution, developing the cut page, and the editor keyboard. If these are things you like, then the speed of development is great. But if you mainly want a better editor (using the edit page) and a better color corrector, then that pace could be viewed as rather slow – simply because those features haven’t received the same attention. Given that, then Resolve wouldn’t stack up as well. So it’s perception.
I do think development pace could be better with FCPX, but I want additional and/or improved features. If those aren’t features that are on the development path, then I’m going to view X as slow development. That’s even though other aspects are being addressed that might actually be way more important from the POV of Apple’s larger goals. Like stability, tweaking for the Mac Pro, better HDR support, and so on.
As far as features go, maybe Apple has decided FCPX is more or less done and improvements will be incremental or come in other areas, like machine learning functions.
– Oliver
Oliver Peters – oliverpeters.com