[Robin S. kurz]

[Peter Vandall] “Basically do you think I could get away with not having that extra nvidia graphics card?”

Completely depends on what your everyday work on it will be. If it’s FCP et al then you will *not* enjoy yourself. Unless of course you’re just doing straight cuts, no transitions, no effects, no color… and in SD. 😉

[Peter Vandall] “I was thinking of tricking out a 13 inch with 16 gigs ram and the 2.6 i7 and save over 500 bucks.”

Again, if no major editing etc. is planned for it, sure. You’re talking about the Intel Iris Graphics… i.e. shared memory. Worst choice possible IMO. Then you might as well get a Mac Mini and save $1000 and have an even faster machine. 🙂

[Robin S. kurz]

I don’t understand. Not trying to be thick either, but if you’re wanting to archive, then having FCP recognize it as a camera is a good thing. That way you can use the “Make Archive” function in the import window, from which you then can do your import. I also don’t understand what space you are trying to save either, sorry. But this way you’d have the backup and the footage in the project. The way to go IMHO.

[Robin S. kurz]

Nope.

Erm… and what does that have to do with “fcpx Favorites bug“??

[Robin S. kurz]

You can’t. An SD card is treated the exact same as the camera itself. I would have thought the reason for not being able to elect to leave the footage in place (i.e. on the card) is obvious. Aside from being the slowest possible source to be editing from, if you removed the card or erased it, that would be the end of your project. It’s essentially protection from yourself.

Why in the world would you want to leave the footage on the card and not copy it to disk first, one way or another?? Data-safety not your thing? 😀

Otherwise your only solution (for more/other options) would be to use FCP 10.1.x.

[Robin S. kurz]

Both. Depending on the project. But then Avid and Media100 did the exact same thing (saved everything into a single, central media folder) exclusively for pretty much decades and was never a problem either. As did FCP 7 when coming from tape. So I don’t see how this is “new” or different. If you’re coming from disk you can have the files anywhere you want and they can be named anyway you want. Previous versions of X essentially had only those two options also. Actually, even less since you couldn’t in fact ingest from a camera without saving the footage into the “library”, period. So if anything, the way it is now is exponentially better and more flexible. Merely the nomenclature has changed, which, again, is irrelevant to me. If anything then I want the clips to be named the way I set the camera up to name them, not some cystic date/time stamp. So it’s now (much) better than before.

Unless I’m completely misunderstanding what it is you are trying/wanting to do, that has in fact never been possible with ANY NLE to date.

[Robin S. kurz]

For me personally it made absolutely no difference either way, since clip names are completely irrelevant to me in the context of how X works and organizes. If anything, then I found the date/time stamp renaming far more annoying.

[Robin S. kurz]

Question is: why would you be using one to begin with?

[Robin S. kurz]

[anita sancha] “but its greyed out.”

Then you must not have a retimed clip selected?

[Robin S. kurz]

The “Preserve Pitch” setting is actually ON by default. You can switch it in the retime menu in the toolbar.

[Robin S. kurz]

Using the highest quality master is always your best choice, yes. I.e. the ProRes.

I simply use either FCP’s built in DVD output or iDVD if I need more options. Both of which will compress the master file to the best quality (size) possible relative to the amount of space available on the given DVD-R.