[Tom Sefton]

I can try trashing preferences. Will report back.

[Tom Sefton]

I also have the latest drivers for the ultra studio 4K.

Slightly better results when using shorter clips direct from the boot drive, but that isn’t an option for us.

[Tom Sefton]

The crash log says it is the plugin.

I can’t import any raw r3d files into FCPX without a crash.

Red files playback fine in resolve, premiere CC and RedCine X and Red Player….

Really stumped here – tech support from apple and red can’t seem to solve it either.

[Tom Sefton]

Hi Kevin

No that isn’t hatched in the queue settings.

[Tom Sefton]

Hi all

Thanks so much for your input. I think it is worth me getting in touch with you Noah – I’ll try and drop you a line this coming week. At the moment the workflow I have is to load the days media into Premiere, make all the edits and then ripple delete the cuts together so the timeline is filled with a single layer of short clips, before exporting an EDL and an OMF that I import along with the media pool to DaVinci. This then allows me to create two batches of exports for multiple clips from a single source media that goes to different folders on the target RAID. DaVinci is exporting at around 16fps – so not too bad on encode times to ProRes LT.

Sorry – one thing I should have said…the project is a stereoscopic 3D film and we have good experience of the quicks3d plugin with Adobe, hence the initial preference to use this….We are creating this much media because there are 4hrs from the left cam and 4 from the right….

I have the Mercury Playback Acceleration GPU switched on in Adobe Media Encoder, but it isn’t making a difference to the encode times – still hugely long compared with RedCine X and Resolve.

If FCPX can allow me to import the media without requiring optimised media rendering, do realtime editing on the r3d files (even with reduced resolution for playback, just enough to check sync), allow preview of side by side stereo 3D files, export multiple clips from a single source file from one timeline for the left and one for the right at anything close to realtime export….I’m there, and Ronny, I’d be glad to give you more details about the project for an article. It’s just starting to get publicity in the UK and we should be finished with the filming process late in 2015. I don’t mind purchasing a few plugins for FCPX to help with the project, as we have put faith in apple hardware and thunderbolt storage so I’m in too deep to move to anything else now! Kind of holding off buying another Mac Pro as we were wondering if there might be an update to the hardware in early 2015…would be mightily annoying if this were to happen after we spent another £6k.

https://www.itv.com/news/calendar/update/2015-01-22/films-to-be-made-to-preserve-auschwitz-memories/

….excuse the beard I’ve grown….!

[Tom Sefton]

Yes it is.

Just for a test I did the same sequence in resolve 11 and it encoded in 22 minutes….

[Tom Sefton]

From our perspective, the nMP has been a great purchase. It’s fast and very good for use with Adobe and RedCine X. The main issues we are having is with external devices being booted off the system for no reason. This can happen whilst being used at random with either USB2 or USB3 hardware, or with thunderbolt hardware too. We also have strange sequences of boot up where the machine forgets that an external sound card is attached. A couple of re-boots and all is well.

Odd..

[Tom Sefton]

Just took delivery of a Red Epic Dragon along with an Ultrastudio 4K and a pair of G-Tech G Studio XLs. Looking at another Mac Pro, but not sure about trade off with performance and price. Also hoping that Apple release a 4K monitor at some point this year.

[Tom Sefton]

Epic Dragon, L series glass, some plugins, some G studio Raids and a partridge in a pear tree!

[Tom Sefton]

Same as Nick, we invoice the client for archival of materials. We explain the size of the project and the unfeasible request for us to store all projects we work on forever. So far, we haven’t had a client that was unwilling to pay £50-100 for archiving their projects. Sometimes, they are happy for something to be deleted, but we would then render out a high quality ProRes of the timeline and delete the rest.

If we are working on a large budget project, we would usually hide the line item, but occasionally we charge more if the project requires large amounts of RAID storage that require additional purchases before the start.

In many cases we are working on RAIDs with large projects so we can’t afford to keep work on them for much longer than the project lasts.