Steve Knattress
1
COW Coin
Forum Replies Created
-
Has anyone experience of the apple 500GB SSD that can ordered with a new 17″ MBP?
Unlike extra memory ( has any one found a use for the 2x 2GB memory cards after update? Can they be put into an enclosure for USM memory?), the educational extra price is less than purchaseing and installing one later. ( but I would not have the 750GB magnetic drive)
What extra performance could I expect, at present all of my apps, documents, music, OSX etc are on a 750GB magnetic in my old MBP, all video is on external firewire/esata raid drives.
Is SSD TRIM (does apple use it?) a problem now that Lion “saves” in the background, and that every key press of FCPX seems to access the disc?
Thanks Steve
-
Just given Lion a try on my MBP laptop.
Incompatible software SiliconImage3132.kext = Express34 card esata raid5 controller
and SxS Memory card.kext = sony SxS card driver
Now apple really are trying to screw professional editors!!!
-
Just given Lion a try on my MBP laptop.
Incompatible software SiliconImage3132.kext = Express34 card esata raid5 controller
and SxS Memory card.kext = sony SxS card driver
Now apple really are trying to screw professional editors!!!
-
[Bill Davis] “Why not just output a full rez Quicktime file – Import that into FCP-7 – open the scopes – tweek things to your hearts content – heck, use the broadcast safe filter if you aren’t comfortable adjusting to scopes and are paranoid about illegal levels – and upload THAT resulting file for broadcast?”
That is often now that many programmes are colour corrected/graded.
A digi beta is output and sent to the graders.
ALL request an EDL of the edit, (think about it you have to go through marking every cut/dissolve effect point before you can add a grade. ( automatic shot change exists but can be a bit iffy.)
No paranoia the programme WILL get rejected by broadcasters if not in spec
Steve
-
As a PS to this having created a white “text frame” in your bin with the text tool( remember to deselect the underlying video (highlighted “V”, to produce a full frame matte)
It is useful to save a black frame, for when you want some filler/pad on the end of the timeline, as “filler” itself ( from the source monitor drop down box) cannot be added on to the end!
Steve
-
If you right click in the timeline and open timeline settings you can change the default operations for auto-patching and auto-monitoring as well as other defaults.
You can configure many timeline defaults to how you like working.
Steve
-
If you intend to edit on AVID soon I’d go for the cross grade purchase now.
In London (where most broadcasters use AVID)
I edit mainly on AVID with a little fcp7 (even some fcp6)Most of my clients are only just moving from MC4.? to 5.0
( I gather some are having problems running 5.5 with an ISIS and or Interplay)MC5.? will be around a long time in the facilities houses.
PS If you learn on MC5, MC4. will be no problem 🙂
Steve
-
Even in FCP7 you needed a very fast computer (with at least 4 cores) to be able to convert to ProRes422 on the fly.
Is the FCPX overhead too much to even do this with the latest MBP?My older MBP is struggling on editing let a lone ingest!
-
[Geoff Dills] “My audio effects are a vast improvement.”
I assume that audio dissolves don’t count as an effect! ?
-
I have a POV.HD which i use hemet mounted whilst cycling.
I have a similar problem, lots of 1080p25 H264 material from which I need just a few seconds shot.
(I am however usually using it in a “30 second loop” record mode, where material with the current loop and next is only kept when I manually tag it. during “record”)In FCP7 Editing these original files was like editing in treacle, editing then consolidating/transcoding did not seem to work. ( the transcoded/consolidate PRORES clips jumped in the timeline)
So in FCP7 I would transfer all of the clips (using steamclip as compressor crashed when used with a lot of clips (possibly a problem creating lots of thumbnails?) to PRORES LT, a job best left to run over night!
A few days worth often filled my editing Raid5. the originals are stored on a Drobo.
Then I do a compilation edit, then consolidate it ( adding “tape” names or it doesn’t work!).
I would then delete the many original PRORES files, just keeping the H264 for archive.)In FCPx whilst still sticky I can edit with the native H264 files. The log and tagging database will be very useful here. But you cannot consolidate from the story line ( In the browser, in any case the whole clip is transcoded not just the used material plus handles).
Copying the storyline with used data only, also copies the whole original file.Looks like we need to get much more disc space, or perhaps apple plan a move to editing on the cloud and charging us for the extra storage required to store prores over the camera original?
Hopefully consolidate ( with an associated decompose and batch import back to the original camera archives) will work as we know it in future? Welcome to tapeless media!
Steve