Tom Sefton
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I think the next red release will be a big one, and something that goes after blackmagic’s price point in the market with the Komodo. They don’t go to NAB but I’d imagine they have it stored up for release to piggyback on another cameras release later this year
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
No just on a thunderbolt 2 attached Gspeed XL drive. Gets nearly 900MB/s and works fine in fcpx.
I can only think there must be something hellishly wrong with the install of premiere.
Quick workaround – xml to resolve.
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
Prores? That’s native for an apple machine and a supported mastering codec for premiere – it really shouldn’t be struggling with a single layer of footage at 2K resolution to playback. I’d be fine doing that on a MacBook Air with fcp.
The only ever time I see any non immediate response from fcp is with high resolution raw files when you have it set to best quality. I just can’t find any comparable level of performance between the two. Resolve is a close second to fcp at the moment, and it makes use of afterburner which is odd that premiere can’t?
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
This works perfectly with r3d to .mov – I’m sure it did with mxf to .mov too the last time I did it.
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
Gahhhhhh you can’t be serious.
Premiere makes our new Mac Pro with an afterburner look like an old PC from years back making the jump to HDCAM footage from DV. If this was skimming over the actual 8K red rushes it might be acceptable, but this is 2K ProRes LT proxies – created in media encoder and stored in the root project folder called PROXIES. And somehow the search function still wants to go burrowing through my user library like some kind of hyperactive toddler with a short attention span.
Want to change your timeline resolution in premiere? Nope. Create a new one and copy all your media there. I might add that this was a timeline of the resolution 1280×720 with 2K footage in there. Is this normal? Really? Do people actually accept this level of performance in premiere just because they’ve been told that fcpx is hard to use and difficult to understand and you need to rethink your approach to editing and all that jazz?
Fcpx? Just change it. It’s that easy. As well as bouncing up to HDR or modifying your audio channels.
Skim your play head around the timeline in premiere – it sticks to random sections like (molasses) and when you hit space bar it thinks. Not for long, but long enough for you to believe that something is happening….it’s no longer part of your finger or your thought, it’s now an obvious machine that has to think to do something of your bidding. Fcpx is so fast and reactive that you forget a machine is there.
Just as a test I thought I’d sling the same footage at premiere that we are working on in fcpx. Multiple layers of 4/6K 60p ProRes 4444 footage with 2 colour adjustment layers on each, masks etc.. That….was hilarious.
However – I jumped back into tracks with audio mixing like it was 2008. That’s quite a nice trip down memory lane – like meeting up with an old friend for a chat about music you like, until you realise they’ve been taking crystal meth for 12 years and they now can’t talk for 30s without swatting away imaginary flies.
I know it’s another string to your bow as an editor, but how has premiere seemingly got worse than resolve?
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
The 2019 Mac Pro is very quick at encoding to h264 and HVEC compared with the iMac Pro. Presume this means that hardware encoding is enabled.
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
Can you update to the most recent version of FCPX?
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
Cutting room final v8 master_relinked media_new audio_final
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
If nothing else will be examined after this worldwide event by the most hard nosed bean counter for a post production house, the justification for renting a large facility with space for multiple edit suites is number 1. If a firm can use a cool new hybrid storage system, handle proxies well and move everyone onto laptop based edit machines instead of heavy lifting desktops with high energy requirements and save vast amounts of cash by having half the creative workforce work from home or anywhere else, they will.
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
Good point.
Just checked and the noise only displays on the MacBook.
D’oh.
Noise is worse when the eGPU is connected. Sounds like the eGPU or the GPU inside the chassis is broken.
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk