[Shawn Larkin]

I think, or rather, hope that Apple is working on a kind of all-in-one integration for the other Pro Apps.

It seems to me that since FCPX and M5 share the same engine under the hood (built on A/V foundation), that having a Motion Project in the FCPX timeline is (almost) as speedy having Connect FX built into Smoke 2013 (although SMAC 2013 has all kinds of bells and whistles for 3D compositing that M5 doesn’t). But in a way it’s better because you don’t have all the overhead code and memory demands to make it work as a single app.

So it’s not an all-in-one per say, but having the foundations be so solidly tied between applications is better than dynamic-linking or round-tripping IMHO.

I think if Apple could do the same for Audio — building Logic X around A/V foundation — as well as making the current implementation of Aperture work better, then that solution would be a kind of best of both world scenario, where you get speed and responsiveness tied to a depth of functionality … when you need it.

[Shawn Larkin]

FCPX + a truly integrated M5 would be like a nice / clean / well-designed version of Smoke 2013.

That’s the dream at least.

[Shawn Larkin]

This is all great information.

When I runs SMART, I see a ton of figures and columns.

What is the key columns and figures (and how do I interpret them)?

[Shawn Larkin]

Thanks Jon,

I guess the question then is:

Do you upgrade the drives (after doing some data juggling) OR do you jump on some new technology?

We are using the R380, which is SAS / SATA 3.0. There are newer options now: Thunderbolt, SAS / SATA 6.0, etc.

What do big companies do: recycle and swap drives or just add new stuff?

Any best practices?

Since we don’t really need the speed bump on our network, I thought replacing drives made the most sense.

[Shawn Larkin]

Although FCPX is very different than FCP7, most of the logic will carry over for sharing:

You both need to have the same exact media to work from; what drives they are on and that kind of thing doesn’t matter much. However, you will need to have the same event pointing to wherever each of you have placed the media.

And you will have to have the same project file passed between systems.

I would recommend sending a folder zipped with these items when you are passing project back and forth to one another:

1) CurrentVersion.fcpevent
2) Original Media Folder for this event; be sure you are using aliased media — NOT ORIGINAL FILES
3) currentversion.fcpproject
4) Any new media files you have added to the project

Then I would place each of these items in it’s respective directory. And then you will have to repoint to the media since it will not be in the same directory on the same system the aliased files are pointing to once you open the updated project.

NOTE: You may be able to not share #2 — the Original Media folder. FCPX may simply rebuild this once you open the project. I have not tested it for sure.

The only way to avoid having to repoint to media would be to do what you eluded to: keep the updated media in an exact replica of the directory path and hard drive name for each system.

Also, since you will not be passing render files, each time you share there will be a period of time for FCPX to re-render.

Test this with a dummy project to get your workflow down and to see if you don’t need to share #2.

Good luck.

[Shawn Larkin]

Hi Joe,

I know you are teasing with your reply. But I think there are a couple things about X which are notable for the future:

1) There are some amazing feats of engineering / programming / design that have gone into FCPX which no other NLE can match — the way speed retiming / pitch shifting, drawing waveforms and quick range-selection audio editing work are genius. Also the way titles and filters are previewed, applied, and edited and, well, so much of the workflow in X is BETTER than any other NLE out there — when it actually works.

2) The paradigm shift to having a “magnetic” trackless / ripple-always-on timeline has many tradeoffs from a traditional track-based system and it always will. This is the toughest one for me. I have to constantly rethink how I would want to do something to fit the new paradigm and even though I feel good about “getting around” on the magnetic timeline, it occasionally feels cumbersome because I am forced to manage connected points vs. tracks. Sometimes tracks make complex editorial movements “easier” than than connected clips. And sometimes they make editing much easier.

[Shawn Larkin]

My takeaway from using FCPX since it debuted — and yes, I still use FCP7 quite a bit on certain jobs — is that it is useable if you are willing put up with “randomness” that you might have to investigate.

It’s irritating that I might have to undo / redo / rework several editing decisions when X messes with the media on the timeline or just stops functioning in a certain capacity, like when the option + { / } stops rolling a clips handle points suddenly. All the quirks stated on this thread so far happen every time I use the program — on other machines too.

I hope in another year, it will be able to keep up with a demanding user (and have those improved audio mixing tools and a source viewer as Apple has mentioned).

Thanks for the answers.

[Shawn Larkin]

Do you know if you can setup watch folders with Prelude?

And is it available to install on multiple machines with a single license since Producers, Assistants, and Media Wranglers, would have the most benefit using it over a network to prep an edit?

[Shawn Larkin]

Thanks for posting this. It’s very useful.

[Shawn Larkin]

Thanks for the reply Alex.

I looked at the script. It’s an ok solution.

If there is anything I can do to convince you to make that Cowtorial, please let me know.

As of now, this is probably the only deal breaker for us jumping on CS6.

I have a feeling that anyone that actually uses this feature in FCP (7 or X) will know how important and powerful it is.