Robin S. kurz
Forum Replies Created
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[Tom Sefton] “It wasn’t long ago that people were getting abuse on this forum for saying they hadn’t used fcpx but were basing their scepticism on what they had read on the Internet.”
Something I have to assume in your case. If not, then you’re simply using X wrong. Because, again, I can’t concur the least. From what I have seen, Premiere ONLY performs better (as in “useable”) when at ¼ res, which, at least for me, isn’t an option. The jaggies are horrendous and it IS in fact otherwise much more sluggish than I have ever seen FCP act with the same material. Literally a slide show. Don’t even consider changing or adding anything. FCP X may not be 100% “smooth” at full res 5+K r3ds (but has gotten MUCH better as of the last update along with the new RED drivers btw), no, but again, I would never even consider doing that, since I am limiting myself considerably that way, completely regardless of which NLE. Even though when set to “better performance” (as described above) it’s technically useable.
[Tom Sefton] “it isn’t an option to spend 5 nights doing proxy exports before starting to edit “
Case in point. If you were to choose proxies on import, then, from experience, that amount of footage wouldn’t take more than over night (or maybe a day while working) to transcode to proxy. And if you have your backups set correctly, then you wouldn’t be backing up the transcoded files, seeing that that is completely unnecessary and redundant.
– RK
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[Tom Sefton] “The only thing I know from current experience is that editing r3d based projects in 4, 5 and 6K is sluggish on fcpx and fast on premiere cc.”
No idea how you’re doing it, but I can’t concur even the slightest. I just finished a 80 minute film with a mixed timeline of 2-6K RED and some 4K from a drone on an rMBP. Obviously I didn’t edit it natively nor would I ever. I simply had optimized and proxy media created upon import, used the optimized when stationary, the proxy when mobile. Worked like a charm, never dropped a frame or “beach-balled” and certainly looked better than ¼ res in Premiere, even when using proxy (since it was “only” ½ res). I was quite impressed.
– RK
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[Thomas Frank] “It baffles me we still have nowhere the Tools as what After Effects offers in Motion.”
Never mind that it caters to an entirely difference audience, even though there certainly is a lot of overlap. With maybe only a few percent (even of AE users) needing specialty tools such as the Puppet Tool et al. Not too sure what is “baffling” about a (one time) $50 app not being feature-sync with another that costs that per month either.
– RK
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[Thomas Frank] “I don’t see no value if you have to have it copied on each Mac.”
Simply watch the above demo (or any of the other various demos). All the answers are in there.
Spoiler: yes, you can copy, browse etc. between KFP clients. Be it local or even remote.
– RK
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And if in fact some archives are causing problems, then the only constructive thing to do is to report it to Apple and even send them one. The thing that I in fact did when the last problem with the PCC cropped up, and they worked with BMD to fix it.
– RK
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Well, I’m not sure which part of “a camera archive is the exact same thing as if you were to simply drag the contents of a card to a random folder in the Finder, only with a suffix” you’re not getting your head around, but the conversation has clearly become nonsensically circular.
A folder is a folder is a folder. Suffix (and how it’s interpreted by any given app) or not. And the issue with the BMPCC was in fact an error that THE CAMERA was writing into the metadata file and how FCP was reading it. Fixed with a flash update for the camera… but never mind. It had absolutely nothing to do with a “changed format” of the archives… because there is no such thing. Unless of course you’re otherwise aware of different types of folders on your system that I’ve never heard of. But I’m sure it’s still somehow Apple’s fault. Easy target, I know.
So if for you saying “Apple needs to fix this” isn’t the exact same as saying “RED needs to fix that MAM xyz can’t ingest their material” (which is in fact the case with KFP btw), well, then I guess there’s little to talk about. Because I do and find it to be a rather ludicrous notion.
– RK
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[Neil Goodman] “This is a ridiculous statement.”
LOL… oh really? Because you work at the same schools and studios? Because I otherwise have no clue how you could make such a ridiculous statement. But I guess it’s simply not true because you don’t want it to be true. The only possible conclusion one could come to, with such a completely baseless insinuation.
– RK
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[Scott Witthaus] “But, there are many many more facilities that shifted to Premier and now X that have never looked back at Avid.”
I’d definitely second that.
– RK
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[Oliver Peters] “You are misinformed.”
No, I’m merely restating what the guys that maintain the systems (and have been for many years) tell me. Which is in fact not very different from what I’ve heard from almost every Avid user I know over the last few years for that matter. The whole “hasn’t been ‘certified‘ for x, y or z yet” or just the general “If it ain’t broke…” attitude. The majority of said issues have little to do with Avid being incompatible with itself, as you describe. If only.
I also know that the Avids have been the only edit suites that have ever been down for any extended period of time over the years. Mind you, a roughly 4:12 ratio between Avid & the rest. On the Mac the Avids are always the ones you seem to need to tiptoe around. To the point where they are on separate machines all by themselves by now, because when you have to update OS X to be able to run every other NLE or maybe some utility, suddenly the Media Composer gets all flakey. That on the other hand I witnessed first hand a few times.
Then there’s still the matter of having to pay more for just a simple incremental update than for an entire seat or over a years worth of the other NLEs, even if that now has changed. But any remaining trust has been canceled out by frustration over so many years, to the point that that step isn’t even one being considered anymore. And sure… YMMV.
[Oliver Peters] “EXCEPT schools that teach film”
That may well be. In the U.S. But then we’re talking about an even smaller fragment of the industry. And we are talking about Avids survival here, so I don’t see how that qualifies as an argument for Avid or its use. Rather I think it solidifies the problem that much more. Especially since no one actually shoots FILM anymore anyway, in which case I see only very very few and very specific (i.e. not needed by the vast majority) tasks that Avid can actually cater to better than anyone else. Meaning to the point that jumping on Avid makes for an actual overall advantage.
– RK
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[Scott Witthaus] “but they are firmly entrenched still in film and broadcast”
Maybe in some cities, but certainly not all. And at the same time, you’re talking barely a single digit percentage of the entire industry. At the same time, those will be editing facilities that set up 5 if not 10 or more years ago. I think it’s pretty safe to say, that any new(er) facilities have not been and are not going Avid. Certainly not from my experience. Simply because it makes very little to no technical let alone economical sense to them from what I gather. And I get it.
And yes, here, too, the otherwise notoriously slow and “SO last year” public (government, a lá BBC) broadcasters, who, for some bizarre reason are still often referenced as the be-all and end-all of “broadcast trends” here as well, are now (amazingly!) moving more and more to anything BUT Avid, which until just a few years ago was considered a completely ludicrous notion. Go figger.
Oh and btw, the few Avid seats left at any of the schools I work at haven’t been updated past v5 or v6 at best, because of the apparently notorious incompatibilities each new, even incremental version brings with it and, with that, constant maintenance and fiddling that accompany any such attempt. That for me is mind-boggling.
– RK
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