Robin S. kurz
Forum Replies Created
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[Herb Sevush] “because it’s mixer lacked subs, sends, fx and all the other qualities of a decent audio mixer. “
All of which (plus much much more) I have with Logic, should I (or the guy doing my audio) feel the need. But then I’ve never considered my NLE to be a DAW. There’s an app for that…
– RK
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[Girshon Rutstein] “I don’t think people can learn how to use it without going through some tutorials.”
I have yet to see any software, let alone an NLE, that doesn’t actually require any type of learning. No idea how that’s FCP X specific. Unless of course you can do what you’re doing in any and every other NLE out there without having to ask? Avid? Edius? Vegas? Premiere? I’m guessing: no.
– RK
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[Jeff Kirkland] “As long as it’s the same title, with the same controls, I don’t think it matters what the text is so one line or more shouldn’t matter.”
That’s exactly how to do it, yes. Select all, turn drop shadow on, done. By far the easiest and fastest. If you were looking to change FONT and/or SIZE, then it would of course matter if it had one or more lines of text (as in separate text wells) and different formatting. But even that would be possible the exact same way.
– RK
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[Steve Connor] “If their path is Film and TV then it’s Avid first without a doubt”
Only in L.A., without a doubt.
– RK
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[Girshon Rutstein] “How do I split these 2 tracks and still make it sound stereo to adjust some volume independently.”
Use the panning after the split? The exact same way you’d have to do it in 7 also.
– RK
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And you realize of course what people in an FCP Forum are most likely to tell you, right? 😀
I’d say you need far more neutral ground to get a usable, representative result, no? Though I don’t actually know where that place could be… 😛
– RK
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I see nothing unusual, let alone doom-and-gloomy about the update (yes, especially because of the SAN improvements alone) or the cycle. To date the updates have always been between 3-4 months apart, as well as every 3rd or 4th update being of a larger scale.
And although I’m one of those many that never even used the mixer (beyond maybe the master bus or for training purposes) when he had one in FCP 7 or elsewhere, if the mixer proposed in the infamous patent comes to fruition as described… wow. THAT I would definitely want (and use) sooner than later! And if for no other reason than to shut certain people up on the subject.
– RK
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[Brett Sherman] ” I wonder if there is a division amongst editors that have to dig through a lot of material versus those that don’t.”
Not much from my experience. Since the size of a project is only one deciding factor out of a long list of criteria. Whether just a few, hundreds or even thousands of clips, everyone is always telling me that, past having learned the mere basics, they are working a lot faster. Of course the more material you have to manage, the more apparent that becomes, yes.
– RK
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[Gary Huff] “4K is really taxing my current setup, even when using a 1080 timeline.”
I don’t know what your setup is, but 4K isn’t the least bit of an issue on e.g. newer iMacs. Not even on the newer Minis that we have, as far as just plain editing is concerned. And on the machines that it is, we simply use proxies.
[Oliver Peters] “I would love to see how it would do with FCPX and all ProRes media, but not at this shop.”
That’s almost exactly the setup that we just installed. Only there are 12 of said iMacs and a Mini with the Promise connected as their MAM. Currently all daisy-chained via Thunderbolt. The most simultaneous edits we’ve had so far going on were six. In which case no one experienced any real lag editing ProRes HD or even native 4K… which was just astonishing. But… only in FCP, not PPro. It locked up and/or crashed a few times, for whatever reason, so we really couldn’t test much. Unfortunately we have to move it to a Gb Network soon, after which I’m curious to see the performance hit. But then we’ll probably just have to switch to all proxy past a certain amount of simultaneous edits, which are automatically generated on the server on ingest anyway, so not a big deal really. Hope to try successively upping the amount of concurrent playbacks one by one to see where the actual limit lies in the next couple of weeks.
– RK
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[David Mathis] “I am subscribed to Photoshop and plan to keep my subscription going forward unless there is a significant price increase. Mainly using it to do some work for title cards and move that stuff over to Motion for additional work.”
Why not simply go with Affinity Photo instead? One time payment of a mere 50 bucks, done. That’s what I did. And unless you need some of the few very specific Photoshop features that Photo doesn’t actually have yet (which it doesn’t sound like you do), you’re much better off for it, too, imho. Since it isn’t bogged down by age old code but rather brand-spankin’ new, it’s incredibly fast and stable in comparison. And the Affinity guys are making it better by leaps and bounds with regular updates. It displays in *actual* 10bit color depth on the new iMacs for example. The type of thing that is clearly easier and faster for them to implement. Take Affinity Design along with it, and you can toss Illustrator as well. The only thing I have left from Adobe is the occasional AE sub as needed. Which also has become extremely rare thanks to Motion.
https://affinity.serif.com/en-us/photo/
– RK
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