[Shane Ross]

I’m seeing FCP-X crop up not only in TV production for show editing (couple small companies, not a HUGE bit of saturation…same two companies I’ve seen use it 3-4 years ago) but a lot in “casting reel” edits…casting reels for reality shows (showing the networks and exec producers potential candidates)….I’ve seen it crop up in the wedding market (two friends who do this), and a lot in online videos…sports video productions…promotions videos for universities, hotels, some government work. I have friends all over the country (and world) who’ve I’ve gotten to know from the forums, and yeah, they are using FCP-X in many of their projects. it’s seeing wide spread use.

I DO think that the vast majority of 2.5M downloads are “private citizens” who use it to edit their web videos, but I”m not going to sneeze at the number of pros using it.

I will sneeze at people claiming saturation into Hollywood…there it is very rare.

Shane
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[Shane Ross]

[Neil Goodman] “Probably will change a little with the intro of the free Avid First and them dropping the price to 20 a month to get into the full Avid.”

Dunno…my kids hate Avid, prefer Adobe (even after trying FCX). Plus they are HUGE photoshop users, so that was their gateway…

Shane
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[Shane Ross]

I have no doubt that Apple has sold 2.5M downloads of FCP-X. Heck, I’d even buy the 3.5M number. There is video being used in SO MANY businesses anymore, that more and more people need editing software, and the $300 price tag, with updates free…is a good price. Sure, Resolve is free, but it’s a hellalot more complex than FCP-X is.

I see people from kids editing web videos all the way up to feature films using FCP-X…something I cannot say about Avid. I can say that about Adobe too…with the low cost student subscription model.

Most used NLE? Sure, I can see that. YAY! Apple wins that category!

Shane
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[Shane Ross]

You are going to have to use the PROXY workflow as Oliver talks about, if you insist on a Mac, but can’t afford an iMac Pro. Cutting 4K Raw requires a LOT of horsepower…more than a 5k iMac offers, and one that a higher end iMac Pro or high end PC would be needed for.

Shane
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[Shane Ross]

Yeah, deselect the audio on the source side in the timeline. Turn it off. Only have Video highlighted.

Shane
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[Shane Ross]

Ah, you are in an HD project, and the footage is HD, not 2K or 4K? Got it. DNxHD 145 is good…even 115 is on par, but get it to match the other media, if you transcoded it. If not…and you have a LOT of GoPro…DNx115 will be fine.

And yes, once transcoded, you can manually overcut. Although you might be able to relink to it. But you’d have to take the drive with the GoPro masters offline, leave the media drive online, open the transcode bin, and relink to all open bins.

Shane
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[Shane Ross]

Linking to H.264 footage, and trying to play that back in Avid smoothly is a lot to ask. H.264 is a difficult codec to decode on the fly.

Once you AMA link (or Source Browser LINK), go into the CLIP menu and choose CONSOLIDATE/TRANSCODE. Then transcode it to high res if working high res, or low res if doing an offline/online workflow. DNxHR SQ is a decent full quality format.

Shane
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[Shane Ross]

Did you transcode it to Avid media? Does the frame rate match the project frame rate? Does it look choppy when viewed in QT or VLC player, NOT in Avid?

Shane
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[Shane Ross]

Then those are RENDER files most likely. Not clips.

Shane
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[Shane Ross]

OK…delete the .mpr and .mdb and let Avid rebuild them. AND THEN drag the .mdb into a bin. Make sure the folder they are in only has a number…not a number and a name…so “2” not “2-broll” or Avid won’t rebuild the db file.

Shane
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