Tangier Clarke
Forum Replies Created
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Andrew I hear you on the pain of learning it and Oliver you are so spot on with regard to difficulties experienced editors may face. I grew up on AVID, then FCP 7, then FCP X while using Premiere when needed. Even with the very buggy FCP X v.1 that my job tested in our workflow, after a week my productivity was so vastly greater than it had ever been. I was astounded. I expected marginal differences coming from FCP 7, but it was no contest; particularly when I let FCP X be it’s own thing and stopped trying to fit it into the mold of other previous NLEs. I’ve been using it so long now and generally satisfied, that I look back on my years of FCP 7 now and wonder how I got along like that. Such is the nature of change I guess…if you’re willing to embrace it. This is not to say that there aren’t features I miss (using T on the keyboard to select everything forward for instance), but it was clear Apple was leaving the many editorial conventions behind now that the had the OS level power of AV Foundation and Core Data, and had a clear pathway in this media/data convergence era. I will say though that folks who learned AVID [Media Composer] seemed to have a better grasp of low level video technical details. Modern apps seem to hide those now and just handle things for you so you can get on with it.
Good luck.
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Would this not be capable using the macOS feature to split the screen between two apps? I’ve done this using FCP X – having a document on one side and FCP X on the other; rarely would I do this though since I use two monitors generally.
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Yep. That’s similar to what I use. I’ve never used a 4-bay dock, but I have two two bay docks I got from OWC, one of them being thunderbolt connected and the other USB 3. Although I seldom ever have to use the second drive dock. Just make sure of the drive size limits for the dock. I have come across docks that don’t recognize drives larger than 4TB. I tend to use WD Caviar Green for backups that go up to 6TB.
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No, my focus is not on iTunes packages. My only other option is MPEG-2, but the requirements are I-frame only.
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I was given a spec sheet for deliverables and I essentially have two options:
1) Apple ProRes 422 HQ Quicktime files, but each one has to be done as an iTunes package with iTunes Channel configuration.
2) MPEG-2 transport stream as MPEG-2 I-Frame only; 50 Mbps for SD, 80 Mbps for HD.
I’d rather make the Quicktime, but having to make iTunes packages for each one for the amount I have deliver may not be a viable option.
Perhaps I’ll have to look into another app.
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Tadeas I’ll chime in.
If you’re storing on hard drives as it seems you are, I don’t speculate that’s too much of a problem. However if these drives stay dormant and powered off for a long time, I would spin them up at least once a year. There’s technical docs about why it’s good to do this, but I won’t get into all of those details. I keep cloned bare 3.5 SATA archive drives and put reminders on my Calendar.app when to spin them up again, because I know I won’t remember. Even if you only visit this project every so often in a handful of months you should be good though. Just be mindful of the connection(s) you’re using with the hardware you use as those may change long term. If that becomes an issue, then adapters will do you just fine.
I tend to use RAID 10 mostly and that’s likely due to the formats I’ve been editing with which relates to cost, performance, etc. I am a sticker for protection as well. Currently using two thunderbolt G-Speed Quad-Bay Studio units with 16 TB each (8TB). I cut narrative regularly which means lots of shots and multiple camera. Performance has been great with multicam editing for me. I’ve even gotten good playback from proxies on a LaCie portable rugged RAID with those same multicam streams. Ultimately you’ll have to decide which RAID mode fits your particular situation.
I don’t really see the need for a separate drive for your library and your media (in this case). I am sure others may contest that. FCP X is going to make regular and multiple backups in your user account Movies folder (unless you specify a different directory). The is means that you will have a backup of the library on another location other than the external drive; on your computer. When I am feeling extra cautious, I simply export XMLS from FCP X after a session. I regularly use a drive at home and one for work that have the same media, so between them I either update events from one to the to the other while having both libraries loaded in FCP X, or use an XML file. Though the XML file I use almost exclusively as an emergency backup and of course I export an XML of the final library.
I haven’t tried online storage with FCP X. Can’t speak to that, but your internet speeds need to be pretty robust if it’s doable.
Keep on storing the shot footage and create new events. Back it up. Edit. Repeat.
As an aside, certain RAIDS are kind of an inherent backup anyway, but here’s my archival process for backing up:
- Consolidate media in FCP X
- Clean the library (removing unnecessary render files and such).
- Export XMLs of the library and project(s)
- Copy the library, XMLs, final exports, miscellaneous needed files and folders to a bare 3.5 SATA drive (in a drive dock).
- Clone that drive to another 3.5 SATA drive (because one will fail, be disfunction in some way, or not startup one day after sitting on a shelf)
- Use NeoFinder to catalogue the contents of that drive so I can always refer to what’s on it without having it plugged in.
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Jeremy please forward your settings in Compressor on how you achieved this. I’ve tried several ways, and haven’t gotten the results I am looking for. I did get a 1080×1920 video file, but what I did not/do not get (and what I need) is a 16×9 version of my original 1920×1080 video in the center of the 1080×1920 video frame output from Compressor.
Visually clarifying – the image on the left should become the image on the right:
As for FCP X, what I meant was that I needed to create a custom preset in FCP X so that I don’t have to keep making adjustments to my Master output preset. Since IGTV requires an mp4 output, I created one dedicated for exporting the format of my project through that setting. What you showed above is what I’ve used so far.
I am not saying it’s not possible in Compressor. I just haven’t figured out a way to do it yet (if it is possible).
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Oh wow, those are some memories! I know what you mean. I believe I was the last class to splice film at LMU and it pained me to have to (by force) learn how to edit using several tape decks and one (or two) just for adding transitions and effects. I don’t miss those days, but they probably made me a better editor. Since I had already learned non-linear editing going from AVID VideoShop to AVID proper in undergrad, then to have to deal with tape and film at LMU, let’s just say I was none too happy. Though when FCP 1.0 came along I quickly ditched our AVID and Media 100 stations and many heated discussions with my professor then ensued about what was and was not possible; me advocating for FCP things that people thought were not possible.
…that character generator was awful and I don’t miss reading heavy manuals. Now that shelf space is taken up with countless 3.5″ hard drives in silicon sleeves 😉
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Just to add to the pot of potential things we’ll have to do, or rather be assisted by AI…
https://www.youtube.com/watch?v=qc5P2bvfl44
I remember when all I need to know was editing and maybe some nice transitions and modest graphics mostly done in Photoshop. Now I edit, do motion graphics and effects, make plugins with Apple Motion for distribution to editors, have to understand compression methods, have to do some light sound work and mixing, and color correction. Students in school definitely have to have a wider breadth of knowledge than I did. Though they also have significantly more tools and access to computing to harness the potential of those tools than I ever did.
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I really loved the specs for the pocket cinema camera 4K, except for one thing. I searched high and low online hoping to find that the screen came out and articulated/rotated like on the GH5. May sound crazy but it’s a huge help having something like that when trying to get certain angled shots while maintaining a visual of the screen.
