Shane Ross
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The main reasons I am using a Hack over a PC is….
1) Two network clients require ProRes deliverables…will not take DNxHD. And with 8 masters needed of an hour long show (or in a couple cases, two hour specials)…outputting and transcoding is time and space prohibitive.
2) My main client uses FCX primarily, and I need to access the project every now and then for a variety of reasons.
3) A good chunk of my “helper apps” are Mac Only…like EditReady.
Shane
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[Mark Smith] “And then there are the system updates that might break the hackintosh.”
Simple..don’t run them. Turn off AUTOUPDATE, just like I do on ANY computer I use, especially professionally. You can update some components, and yes, you can even use the Apple APP STORE updater to update the OS from say 10.13.0 to 10.13.6. It’s going from 10.13 to 10.14 that would be the one to worry about. I just went from 10.11.3 to 10.12.4…and I basically redid the CLOVER installer. It was far smoother and more effortless than my first OS install with 10.11!
[Mark Smith] “If you look at it strictly by $ sure there is a case, but I have to consider the psychic pain of sitting more hours in front of a screen figuring out what went off the rails with the latest update which is not a desired activity.”
Again…don’t update. I NEVER update unless I have to. Like an app needs it, or new hardware only uses a driver that only works on that OS. There is no case to just update because the update is there…even on a non-hack.
[Mark Smith] “Maybe its a high convenience fee, but I’m ok. My Macs give me long years of surprisingly trouble free service: my 2012 macbook pro still runs perfectly well, needs a battery, but hey. THe Macbook not my edit machine except only in a pinch and only for HD, but it still works great. “
Yeah, this is more of a thing for us geeky hardware types to actually enjoy this to some extent…The torture too. 🙂
Shane
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[Mark Smith] “Seems like a lot of work for middling results, no?”
9 hours of work, and $2600. Up against a $13,000 iMac Pro and then a $5,000-$6,000 MacPro…for results that were off by seconds. So, are all those few seconds worth $10,000 to you? I only include the iMac Pro in this as it’s new, and the MacPro is 3 years old and not really worth investing in right now.
But that’s the thing… $2600 vs $13,000 for results that were very close.
Shane
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This is why you look for editors who know how to use the editing app you are using. Sorry, but IMHO you need to find another editor, one who knows FCX. Hiring an editor who only cuts in Avid wasn’t wise. You’ll be spending most of your time creating and organizing the footage in Avid (you can’t convert projects and bin structures, only sequences)…and then trying to muscle the sequence from FCX into Avid. But even then, getting that sequence to reference the existing media…spotty at best (Oliver said he couldn’t do it)…so what you’d end up doing is creating NEW media for this…and nothing will “match back” to the other media…so locating bins where the media in the cut is located is impossible.
And then anything like compound clips, secondaries, any effects…NONE of that will transfer…and all of those will make converting the sequence harder.
No, best to find an editor who cuts in FCX and hire them. If I was approached with this job, I’d have to turn it down as I don’t know FCX. I was tasked with addressing notes once, and for two days I stumbled over my two left feet.
Shane
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OH GOD that was a fun video. When he was stymied about why his GPU driver wasn’t working, nor the Ethernet…all those questions…that was the issue I HAD when I built mine, and all those questions I asked.. And just like him, I had a corrupt EFI folder.
Fun building mine…I’ll do it again if Apple doesn’t come out with a reasonable MacPro. Meaning, expandable.
Shane
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Sorry, no, there is not. There is no way to maintain the folder structure from within Resolve and transfer that, nor is there a way to maintain the folder structure as it is on the hard drive. You need to manually re-created this structure
Shane
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Wait…you said they wanted a DVD. So, you aren’t going to provide them with a DVD? What EXACTLY do they want from you? A file that they can fit onto a DATA DVD (meaning, basically like a hard drive)…one that you put in a computer, double click, and can play? Or do they want a DVD like what you rent (or used to rent) from Blockbuster? Will they be making the DVD on their end? How?
Sorry, I ‘m confused now.
Shane
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[Jim Lino] “Problem is…. if I manually animate the text just by itself…. it’ll never look as good/precise as if the two clips were just “linked” as they were moving together…. like how Final Cut Pro can do.”
Final Cut Pro has a way to have text track with an object? That’s pretty cool. I didn’t know that. With Adobe and Avid, I have to use something like Mocha Pro to do the tracking.
To be clear, what you want to do is lock the text to the side of the car so what when it moves, the text moves. Yeah, that’s exactly what a TRACKER is for. And the best one I know of is Mocha Pro.
Shane
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DVDs are MPEG-2. That’s what they are. What you need to do is get DVD Authoring software, like TOAST…then encode your full res output to the DVD format and author the DVD. You can’t bump the data rate or the DVD will be unplayable, you have to go with the standard DVD bitrate. So if you have a 10 min video, it might end up under 1GB encoded for DVD…you can’t make the data rate higher to make it reach the 4.7GB limit of the DVD…that will make it unplayable in DVD players. You need to author it properly.
If they want an HD DVD format…then you need to encode for BluRay and get a BluRay burner and they will need a BluRay player. But for Regular DVD…that’s SD…MPEG-2 is the format.
Shane
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Multicam transfering from any NLE to Resolve is iffy…spotty. I suggest COMMITING the angles…collapse them. Make them no longer multicam so when you send to Resolve, it doesn’t have to deal with them. you should be in picture lock anyway, so no longer need the other angle.
Shane
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