Ronny Courtens
Forum Replies Created
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I agree with the assessment that Apple made a good future-proof decision by making the CPU less important while drawing more computing power from the GPUs. That’s where we are heading anyway.
As to the choice for AMD: if Apple pushes developers to pay more attention to OpenCL instead of just CUDA that’s good for competition. By writing their own software to address the cores of their GPUs NVidia have successfully put themselves in a comfortable position where people need to use their cards if they use software that only relies on CUDA acceleration. And we all know what happens when corporate businesses get in a comfortable position ((-:
Although they have some pretty darn fast cards AMD at this time has a low market share compared to NVidia. When we see that Adobe, Blackmagic and other larger companies now have officially announced they would also add full support for OpenCL (which is getting better all the time) we will have a better competition which is always good for us, the end users. And I would not be surprised if by enforcing this competition Apple got a really good deal for these powerful AMD GPUs they will put in the MacPro. Again this could be a good thing for us.
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Like Mark says:
1. Group-select all the clips in your multicam timeline
2. Go to the Inspector > Audio tab > Channel Configuration
3. Un-check the audio channel you don’t want anymore
4. Check the audio channel you want to hearIMO FCPX is not hard to learn at all. And it has without any doubt the best multi cam implementation you can find.
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Have you tried optimizing the footage to ProRes, then synch it to the external audio in FCPX?
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Sorry to disappoint you but no, AFAIK that is not possible.
As CCs work now, I would welcome being able to attach clips to secondary storylines without having to create CC’s. This would not defeat the basic notion of having one Primary Storyline to which everything else is attached, as each secondary is attached to the Primary anyway. But it would definitely be better than having to create CC’s.
CC’s are always collapsed on the timeline, like nests in FCP. So on your main timeline you have no visual information about what’s in them unless you open them in their own timeline. And when you do this, e.g. to modify an element inside, your playhead never stays on the spot where it was on the main timeline and you have to go looking for that spot. Nor do you keep any visual reference to your edit on the main timeline when you need to modify something in a CC. Major bummer.
But if we could choose to uncollapse CCs on the main timeline and work in them, just like we can do with audio components now (which I love), that would certainly make CCs more fun to use. If for some reason this is not possible I think they need to find a better way to group elements on the main timeline, aside from having to create CC’s. I do think this will change.
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Bill Davis: Well, you’re obviously not taking into account the the US is the center of the known universe.
I know that, Bill. But scientists say the universe is rotating, so everything outside of its center obviously moves faster than the centre itself ((-:
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I don’t understand what this fuzz is about either.
Two months ago we added three bays to our post house in Paris. I called the Paris International Film&Television school because they have a Master’s Editing program and I asked if they could point me to some ex-students looking for a job as full-time editor for broadcast post. I specified that we worked with FCPX. They told me they still trained their students using legacy FCP but most of them worked with FCPX at home or on independent projects and some were really proficient at it.
One week later I received 18 applications through the school and I was amazed at how well all candidates knew the program. Three of them are working full-time with us now.
Popular film and media schools in Belgium and Holland such as Media College Leiden, Broadcast College and others train their students on FCPX now. So I think there’s nothing special about this anymore.
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You are very welcome, glad you have figured it out.
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As you are fairly new to this, first let’s check this:
Open the Media Import window (CMD+I), select one or more files to import and press the Import Selected button. A drop-down window will appear. Is the “Copy files to FCP Events folder” option checked in this window? If so, can you un-check it or is it greyed out?
If this option is greyed out:
Are you trying to import from a Camera Archive or a camera card folder on this drive?
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Like Andy said the share destinations are stored in user/Library/Preferences/UserDestinations.plist
But when you completely re-install FCPX for a new User (which is what you did if I have read your other posts correctly) the custom user destinations (Compressor presets) are not added by default to this list, so you should manually add them back in FCPX.
The custom Compressor presets can be found in user>Library>ApplicationSupport>Compressor>Settings folder.
You can add them back via the Share menu > click Add Destination > double-click Compressor Settings in the list. This will open the Custom folder of your Compressor presets. Select any custom setting you wish, click OK and the Compressor preset(s) will be added as a new custom Destination in the FCPX Share menu.
If this does not work you will have to completely uninstall Compressor and re-install it for the new User you have created.
!!! Before uninstalling Compressor make a backup of all your custom Compressor presets in the Settings folder.
Uninstall Compressor using AppDelete, AppZapper or any other tool that deletes the app and all associated files. Then re-install Compressor 4 for the new User and see if everything works OK now.
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Well, I think we entirely agree on every point. After all it’s not about having the fastest machine in benchmarks, it’s about having the best equipment you can get for your particular workflow. And I have no doubt that FCPX and the coming family of X pro apps will truly fly on this Mac.