[Robin S. kurz]

[Bob Zelin] “Apple is really becoming evil.”

Because they’re trying to open up an important option for everyone (which doesn’t even include themselves at this point) and therefore are challenging an absolutely ludicrous patent? Fascinating logic.

[Bob Zelin] “They just want to screw everyone that is not an official “partner”.”

You DO know that RED is an “official partner”, right? E.G. having made an FCP plugin and having the Raven selling in the Store exclusively? How much more “partner” are you looking for? RED selling Macs?

[Bob Zelin] ” a Trillion dollars is just not enough profit”

Apple has never made a trillion profit, sorry. Unless you want to count the entire last 30 years. But then I’m pretty sure it’s a lot more.

[Oliver Peters] “There are quite a few reasonable cases being made that RED’s patents should never have been granted in the first place. “

Exactly. Patenting “writing compressed sensor data to a disk in a camera“?? They basically used existing tech, strung it together as a package, patented that package and are now suing others over it. That’s pretty much the textbook definition of a patent-troll. The only thing that they uniquely contributed was their own take on the (again, already existing) wavelet compression algorithm. That’s like if I patented “rolling a transportation vehicle with four wheels over gravel at 30mph” and was granted it, then stand by the road stopping people. It’s absolutely ludicrous.

[Oliver Peters] “it may well be a contributor to why we haven’t seen much progress with ProRes RAW implementation”

What else? Clearly a LOT of camera OEMs are interested. Why would they prefer to play money into AtomOS’ hands and not just implement the recording internally if they weren’t in fact simply afraid of having to deal with RED and licensing demands if they do? Apple’s requirements for implementing it certainly couldn’t be holding them back. Especially since many of them are ALREADY recording other flavors of ProRes. Not exactly much of a stretch there.

By the way… Apple isn’t suing RED. They are petitioning to have the patent revoked. Big difference.

– RK

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[Robin S. kurz]

Not to rain on your parade… but alpha support’s actually been there since day 1 of HEVC in macOS. Merely full *playback* support is new on certain OSs/apps. ????

But yeah, too few people know about this.

– RK

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[Robin S. kurz]

Well, you must have done something differently. But motion tracking most certainly isn’t the solution either way, no.

– RK

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[Robin S. kurz]

Sorry if I find it difficult to understand which part of what I described was so difficult or confusing. I did exactly what I wrote above and had THIS within about 30 seconds.

https://bit.ly/2ysPARj

– RK

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[Robin S. kurz]

[Oliver Peters] “But I didn’t get the impression that was an option.”

Shouldn’t be either. ????

If he can or could, then it would make much more sense to just use the opportunity to export the XML and leave the rest behind asap. Especially since that would otherwise also mean leaving a brand spanking (and most likely exponentially faster) machine behind. Which I’d say would be pretty silly and counterproductive.

– RK

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[Robin S. kurz]

That can really only be if the Match Move’s Auto-Zoom Mode is set to NONE, or simply not set up correctly in general to begin with. You might want to check that.

Aside from that there’s also a zoomed preview of the tracking area in the Behaviors Inspector that you can use, if all else fails.

– RK

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[Robin S. kurz]

BTW: the issue being, that if you use audio sync ONLY, then you’re telling Final Cut to “listen” to each clip in its entirety and figure out how and where they sync up. Obviously not a good idea when the clips are that long. As the manual states, by setting even just rough markers in each clip around the same spot tells FC to “listen around this area”, not the entire clip.

Pretty darn clever if you ask me.

– RK

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[Robin S. kurz]

[Oliver Peters] “it sounds to mean that he does not possess FCP6 (Mac died)”

Ah! Okay, then I get it. I wasn’t factoring in that he might not AT ALL have access to the old projects i.e. his FCP 6 version. I hadn’t read it that way. If that is in fact the case, then yes, you’re right and my bad. No XML, no transfer.

– RK

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[Robin S. kurz]

[Oliver Peters] “I think you misunderstood his question.”

The question was:
“whether I am going to encounter problems with trying to import those FCP 6 files into the newest version of the software?“.
So I guess it’s more a question of what your interpretation of “FCP 6 files” is?

For ME at least that means transferring the edits. Your answer
“You have to be able to open that in FCP7 and export an XML file.”
suggests to me that that is what you interpreted it to mean, too. Only I don’t see why and where FCP 7 is needed. If he is able to open the files IN 6, then he can export the aforementioned XML from there and use SendToX to “import those files” into X. Meaning both footage as well as the edit itself.

Of course there can be a certain “loss in translation” e.g. if filters, transitions and titles were used, but the edit AS SUCH is no issue. He can’t of course open the ORIGINAL FCP 6 files without said translation, no.

If that is NOT what his question was meant to ask, then he would need to clarify.

– RK

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[Robin S. kurz]

[Mark Suszko] “if it’s there I haven’t found it yet.”

⌘B for the active clip, ⌘⇧B for ALL clips.

– RK

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