[Tony West]

[Michael Gissing] “You can transcode to whatever you want if you are doing a proxy edit/ reconnect to camera originals workflow for grading. “

Yeah, that’s exactly what I do.

I like that I can edit 6k on my “old inept computer” even though nobody ever hands me 6k footage because it’s super overkill for most things.

[Michael Gissing] “ProRes is a bit of a nuisance as many consider it a bit of a standard. “

It’s not a nuisance for me. People consider it “a bit of a standard” because they get asked to deliver that so often.
Which was my point. So, I guess we kind of agree?

[Tony West]

[Oliver Peters] “2048×1152 ProRes 4444 for editing.”

You almost make this sound like a toss off. ProRes 4444 looks amazing and the Academy only wants 422 from you.
Many people’s computers would choke on 4444.

[Oliver Peters] ” Both “Focus” and “Whiskey Tango Foxtrot” benefitted from the fact that these were ARRI shows.”

A lot of people like ARRI. Many better than RED. I think they made a”smart” decision going that route.
I don’t remember seeing them complaining about the quality of their footage. They seemed super happy about the way things went and they didn’t even have .3

[Tony West]

[andy patterson] “Why trans-code to Pro Res? “

Because most people will have to ultimately deliver in that anyway right?

[Tony West]

[Oliver Peters] ” Mac Pro (8-core),”

Does this one beach ball on your 4k stuff?

[Tony West]

[Oliver Peters] ” I deal with 4K ProRes files as native a lot these days on some fairly large projects.”

What kind of mac do you use?

[Tony West]

[Oliver Peters] “with Macs as Apple’s own (now defunct) monitor line. “

This is a good point. I really like my mac display, but if they don’t put out a new one I will be very disappointed.
Seems like they would need a new display if they put out a new mac pro.

[Oliver Peters] “But in general, that’s because they are either working with actual FCPX proxy files or externally generated “proxies” for editorial.
“

Wouldn’t you work that way anyway if you were dealing with that much large format footage?

[Tony West]

[Tangier Clarke] “I just hope that the iMac does not become the only answer. I love the iMac and use a iMac 5K Retina daily, however I preferred being able to choose the monitors I wanted;”

I agree, I have always liked the separation of the monitor and the computer. I felt like if the monitor would go down on the iMac it takes the whole computer down with it.

I remember the first mac I ever had the monitor went down (after years of use). I got another monitor and kept going. The computer never went out.

I watch the clips of people who have cut big budget Hollywood films with X on that now old Mac Pro and I never see them complaining that the computer bogged down or couldn’t handle the work.

Is it beach balling on these big projects, and if it is why aren’t they saying that, and if it isn’t what are they doing differently?

[Tony West]

[andy patterson] “”We did notice that collapsed split edits, especially when they are quite long, can cause a lot of confusion (you hear a sound but can’t figure out which audio clip it’s coming from because it’s actually hidden in the collapsed split).”

I have seen folks confused by this in the past, but I wonder if the article is already a bit dated. It looked like they were working in the version of X before the 10.3 update and the addition of Lanes.

If you are doing a film like that now in .3 I would be surprised if that was still in issue.

[Tony West]

[Oliver Peters] “The point is whether or not the magnetic timeline makes FCPX more efficient than other NLEs. I think that’s entirely dependent on the actions you need to perform. “

It can be, but it also depends on “how” you go about doing something.

I see people do things inefficiently in X and then say “X is inefficient”. There are often 3 or 4 ways to do the same thing in X.

I don’t set myself up to fail in that timeline, so I work very efficiently.

Bottom line, once X added Lanes it was game over for me. That timeline now has the best of both worlds.

The only “advantage” tracks had was organization, and now that’s gone.

[Tony West]

[Oliver Peters] “you are working too hard at this! “

I’m not working any harder than you are.

It shouldn’t matter where I look. you said they didn’t call it Final Cut Pro and I showed you an example of just that.

He already corrected his original comment anyway, and yet YOU are trying to defend the comment that even HE corrected but it’s ME in your mind that’s working hard. hahahahaha