Shane Ross
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FCP 7 was used on more Oscar nominated films than FCPX this year!
(Yeah, i’m throwin’ shade)
🙂
Shane
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Ah, right…dammit. They only sell the LATEST versions anymore. Might need to resort to RESOLVE, or EditReady.
Shane
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[Christine Douglas] “should projects also be kept separate from the application?”
Yes, the MC application goes in the APPLICATIONS folder, and the Avid Projects go into the DOCUMENTS folder. If you set up a PRIVATE project, Avid puts it there by default. Makes an “Avid Projects” folder where it keeps all the projects. It’s quite normal to keep the projects and application on the main system drive.
[Christine Douglas] “Since this new computer is a laptop and only has one internal drive I considered using an external drive for media files and keeping the same setup as before, but if project files should have their own place I can partition the drive.”
No need. Most current MacPros only have one drive…most laptops only have one drive. The current way of keeping projects and applications on that drive is the same as it has been since the dawn of Avid. nothing changed. the only time you’d keep projects on an external is if you are sharing the project with multiple editors, via NEXIS or ISIS.
[Christine Douglas] “Also, can user settings be safely stored with any of these?”
Avid puts those where it wants them, with the Project file. And other user settings go in the SHARED partition area. Don’t mess with how Avid does this…leave those be. Move them and Avid won’t be able to find them to load.
Shane
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Or you can use the other machine, and use Resolve, EditReady…buy the new Compressor ($50), Media Encoder….lots of options.
Shane
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It shouldn’t take a week for 1 hour of GoPro footage to convert from H.264 to ProRes. At most 2 hours. Something else is up. Might want to look for COMPRESSOR REPAIR on digitalrebellion.com.
That’s WAY TOO LONG.
Shane
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OH, sorry, I see now that you did. So…1920×1080 it’ll do this file, but 2k DCI, no dice?
Shane
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So on the DELIVERY page you choose AVID AAF? You didn’t just choose to EXPORT that from one of the menus, but did use the DELIVERY page, right?
Shane
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Source Browser linking and importing preserves much of the camera metadata…more than the source name and timecode. MUCH more. There is a lot of camera data embedded that it saves, and if you choose the proper columns, you can see it. SO it makes relinking to it later much easier. Importing retains very little information, and you can only batch-import to bring in at higher resolution, and you might get wrong clips do to repeated clip names and timecodes that many cameras create.
Shane
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[Juan Juig] “So you are saying that transcoding this way is always more reliable?”
Yes. Far more.
[Juan Juig] “Why is the classic import function so unstable?”
Because Avid is moving away from that, and focusing on this method moving forward. This method retains more metadata, and can better deal with multiple format types. Tech advances mean new ways of doing things.
Shane
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[Juan Juig] “I’m trying to import several 20 minutes long PRORES 4444 files and transcode then to DNxHD 185x during the import process. I am using the regular import method and haven’t tried AMA transcode with these clips, because I really want the classic import to work.”
You are going to have to learn the new way, as it really is the Avid PREFERRED way to do things. It’s what it basis most of the workflows on. Classic Import isn’t as good, nor robust, as you are seeing. Avid changed things to make things work better. So, gotta learn the new way.
Shane
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