Stephan Walfridsson
Forum Replies Created
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I think you and I have very different expectations when it comes to the capabilities of a “Motion/Shake” hybrid.
/Stephan
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[Aindreas Gallagher] “they stand to make around 1.5 – 2.0 billion off FCPX in the first year alone”
Yeah, but that’s less than 2% of Apple’s total revenue. With over 50% of their revenue coming from iPhones and iPads they have a strong incentive to focus their resources on many other things apart from the studio apps.They can use FCPX to lure more people over to mac and sell more computers, but spending money on the other Studio apps that only benefit a tiny fraction of even the FCPX users is just money wasted for Apple.
[Devin Crane] “However I would not be surprised if you see a Motion/Shake hybrid of sorts pop up.”
Sure, if they figure out a way to add “awesome” and “jaw dropping” features that makes hardcore compositing easy for the average prosumer I’m sure they would try. It definitely would be interesting to see what they could come up with. But after dumping Shake they have fallen so far behind both AE on the low end and Nuke on the high end that it would take a lot of money, sweat and a miracle to catch up.
Stephan
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I think you are basically correct.
My guess is also that color is dead as a separate product. I actually think that the revamped colorcorrection tool we saw in the sneak peek is everything that is left of Color.
Motion will probably live on as a separate application, and depending on the number of sales on App Store may or may not have a long and prosperous future.
Soundtrack Pro is more of a problem. They’ve already moved some of the film/video-centric features (eg. noise reduction) to FCPX and Apple already has Logic as their prime audio tool. So I think Soundtrack Pro may disappear quite soon.
DVD Studio Pro is in direct opposition of Mr Jobs view of the future (iCloud) and developing it further would be the same as creating “a faster horse”.
Compressor will live on as a stand alone conversion tool.
Thats my two cents.
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Paul, even though I think that you are correct in thinking that FCPX is built on AVFoundation, I think you are wrong in some of our more detailed conclusions.
[Paul Dickin] “So they’re saying everything is in memory until such time as you choose to Export it into whatever format you choose.”
“There seems to me to be no reason for it to have to exist ‘in memory’ in some legacy FCP 7 compressed codec during the intermediate editing stages.”
“It remains to be seen whether the Export process refers back to the original source media, to maintain the highest quality (which would take time I guess), or if the intermediate memory renders which have been created for editing are used.
Any straightforward ‘first generation’ transcoding will involve decompressing into memory, so maybe the FCP X editing intermediate files could be more-or-less ‘invisible’, just like a normal format-to-format re-encode?”I seriously doubt that they will keep everything stored in memory in an uncompressed format as it would require tremendous amounts of RAM (and/or cache storage, resulting in a lot of slow memory swapping as you jump around in the timeline). Even if they just wanted to store everything in the original compression – be it h264, ProRes or Uncompressed 422 – the memory requirements for any normal project would be prohibitive.
If your theory on automatic intermediate renders is correct they would surely choose to use a ProRes format to reduce the storage requirements (and store it on disk, not in memory). But realtime playback from the sourcefiles are a much simpler solution given the mulitple cores on modern hardware and advances in gpu utilization, and doesn’t induce the need for extra storage space.
Stephan
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Select the clip in the bowser and in the Modify menu choose Timecode…
(This is will permanently modify the timecode in your original source file, so make sure you really want to do this…)
Stephan
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Editing h264 material is less work for the HDD compared to using ProRes. (But a lot more work for the processor.)
How did you perform the disk swap? Did you do a fresh install of the entire system or just clone the old drive?
What kind of results do get if you try using something like AJA’s speed test?
And maybe you had the dropped frame warning disabled before and therefore didn’t notice if the computer was struggling a bit.
Stephan
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Try exporting an XML of the sequence and import that XML into the new project.
Stephan
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What does the error message say? What is your source format and what are your sequence settings? What are you doing on the timeline that requires rendering?
Stephan
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[Travis Roesler] “I don’t have the manual…”
It’s right in front of you under the Help menu…
Stephan
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I absolutely agree that it does change the feel of the rythm and pacing.
However, 4% speedup is the way big feature films are transferred to PAL. Just compare the difference in running time on for example Avatar (on DVD) on amazon.com vs. amazon.co.uk. I’m not saying it’s the best way to do it, from a creative standpoint it may not be, but it is the way it’s normally done. So unless there is a problem such as with the shortened duration then it is definitely an accepted way of creating a converted master for a distributor.
Oh the joy of finally having true 24fps Blue-Ray and TV-sets. 😉
Stephan