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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Final Cut Pro X Released

Man the internet sure moves things fast :)
Back in the day when Alias went from PowerAnimator to Maya, I didnt hear any complaining for 24 hours...unless your using IRC ;)
 
Jake Bastian said:
Without XML support the transcode workflow is useless. How are you supposed to get back to RAW for grading?
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Cioni repeatedly was teaching us in class that this is NOT the proper methodology. That creating LTs for editing, and the re-linking to 444s transcoded at the same time, would give you all of the information you'd need to do as good a color as you'd do in the native r3d setup in say color - and it is much faster. I know, this really confused me, but I went and saw for myself that this is how they were grading things like social network and I was like, oh, maybe they are on to something.
 
Henk van den Doel said:
Max, is it also so fast to work with the proxies now or is that still similar to fcp7 performance?
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Still trying to figure this out, but I think it is MUCH faster. It does some sort of render when you bring in the proxies which happens in the background but does slow performance initially. Once it has got it, though, you can do whatever you want to it and it flies.

There is a lot I can't figure out though - like why can't I access my XSAN volume? And it won't let me create a project and save it wherever I want. I'm sure I can, I just can't figure it out.

There is a lot of iMovie here, for sure...
 
Paul Lee said:
Update- AJA already has a beta driver and a whitepaper
http://www.aja.com/support/konaNEW/kona-3-3x.php
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The summary is: there is no direct support in FCP X for AJA cards.

Their workaround is to extend the desktop to the AJA card - and then you drag the video preview window over there and maximize it.

That's the same as saying "Textedit supports the AJA Kona card because you can turn on extended desktop and move your Textedit window there"

From pg.7 of the whitepaper:
"Note: the quality of the output produced during editorial should be considered preview quality.
Also be aware that the use of some graphics cards or the use of multiple graphics cards or monitors, may impact your ability to use the KONA Macintosh Desktop mode. AJA recommends using only one computer monitor connected to one graphics card in your computer for optimal results. Connect your AJA KONA video output to your video monitor."

Funny that just as Avid are frantically trying to add direct support for all of the hardware manufacturers, FCP X decides to do away with it!

Bruce Allen
www.boacinema.com
 
What is shocking to me is the lack of XML/EDL support.. so basically when this first round of FCPX projects are cut they'll find that the Color tools are insufficient (seems to be a unanimous opinion on first reviews) and realize they have absolutely not feasible way to get it to a colorist or proper color correction software?...................................wtf are they doing
 
Ok well that could be promising then.. IF a way to get the timeline to RedcineX would appear in the near future (can't believe there is no XML and OMF support). But if if if, I see a super easy and quick workflow possible: cut with proxies directly after drinking coffee and loading of the proxies, 1st color correction in RedcineX, secondary where needed in fcpx color tools again and export. To facebook :)
 
Rick Turners said:
What is shocking to me is the lack of XML/EDL support.. so basically when this first round of FCPX projects are cut they'll find that the Color tools are insufficient (seems to be a unanimous opinion on first reviews) and realize they have absolutely not feasible way to get it to a colorist or proper color correction software?...................................wtf are they doing
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Good point. Luckily, DaVinci is pretty good at detecting edits... just feed it a Quicktime and it might just save the day.

Last resort option though.


Eric Santiago said:
Man the internet sure moves things fast :)
Back in the day when Alias went from PowerAnimator to Maya, I didnt hear any complaining for 24 hours...unless your using IRC ;)
Click to expand...

That's because Maya had basic functionality at least.

When Softimage XSI 1.0 came out and it didn't support polygon modeling at all (they included Softimage 3.9 for that) - people went nuts immediately!

I don't think it ever recovered.

roryhinds said:
Is there really going to be a Final Cut Pro 8?
I thought FinalCutX is its replacement
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My 2c is that Final Cut Pro 8 = Avid or Premiere :) This is like Mac OS 9 -> X. Some things (I miss my spring loaded folders) are done for good I think? For Apple, the future is Final Cut Pro X?

Bruce Allen
www.boacinema.com
 
>they have absolutely not feasible way to get it to a colorist or proper color correction software?.

Not entirely true, but mostly. a FCPx export render can be ingested into Davinci Resolve and run through scene detector, which will chop it up into clips via EDL for grading.
 
Max Kaiser said:
Paul - are you using this with local storage, or mass storage like an XSAN? I think this is where it fell apart for me. I was inundated with "conforming, conforming, conforming" waits...
Max
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Yeah sorry I should have mentioned that. You are right it was a lot slower when not using local, but for what i needed it was ok, considering I do my bigger projects on windows. The IMAC was able to handle average size projects, but bigger stuff I used PC for and it was faster.
 
Bruce Allen said:
That's because Maya had basic functionality at least.

When Softimage XSI 1.0 came out and it didn't support polygon modeling at all (they included Softimage 3.9 for that) - people went nuts immediately!

I don't think it ever recovered.
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Well basic yes but there was still grumblings with the natives appeased by giving a free license to Artisan (in replacement to PowerModeler).
Im just saying that the flack Apple is getting seems a bit heavy (and real-time) for a so called version 1 release.
Just tested the Match Color...saweet ;)
 
Paul - that's where Premiere fell apart for me - on a five minute project. For a 30 second ad it worked GREAT, but once I tried to start scrolling through stuff in a timeline of footage connected to the XSAN it would just crash and crash. Also, it didn't give me smooth playback as I scrolled, it was sort of herky-jerky - and this is on an 8-core with 16gb of RAM. Basically, it just sort of felt like a toy compared to the robustness I felt on FCP7. When I got back to FCP7, I was very happy. I had to transcode, but oh well.

Right now, FCPX feels like a very fast toy, too. Gonna be awhile before we're able to move to basically because of what I can tell about how it "force" organizes data. For a place that shares tons of data across multiple workstations I'm just not seeing how this will work.

One funny thing - I was able to just pass the app over to another computer and open it and start working...weird...

Max
 
Max Kaiser said:
Cioni repeatedly was teaching us in class that this is NOT the proper methodology. That creating LTs for editing, and the re-linking to 444s transcoded at the same time, would give you all of the information you'd need to do as good a color as you'd do in the native r3d setup in say color - and it is much faster. I know, this really confused me, but I went and saw for myself that this is how they were grading things like social network and I was like, oh, maybe they are on to something.
Click to expand...
Max care to elaborate :)
 
I am REALLY not the guy to elaborate on this as I am out of my league. Our workflow has always been - edit the proxies, color in Color using r3ds, output 1080p from color back to FCP and do final output from there.

Cioni from Light-Iron, who does a hell of a lot of this stuff, at Reducation, preached that is NOT the way to be doing it. That rather you should -

1) Transcode using redcine-x/redrocket using a one-light pass and your favorite color look to prores lt or something light. Set your white balance here.
2) Transcode again using redcine-x but FIRST setting looks to redlogfilm and redgamma2 (or was it redlogfilm2, redgamma, can't exactly remember), this time transcode to Prores444. Again, set your White Balance here.
3) Edit your LT transcodes in FCP until you've got picture lock
4) Reconnect to the 444s
5) Color in FCP, or if you need secondaries, etc., in Color.

Again, this was really weird for us. We'd given up doing WB on set, etc. as we just did it at the end in color. Now we've got back to white balancing on set.

Anyhow, Cioni's story (and I hope I'm not screwing this up) was that with 444s you've got just as much information as in the r3ds and that furthermore any pro colorist would ONLY want 444s to color, and not r3ds. This was hard for me to swallow, for sure...

Again, this is really off-topic here and should probably be somewhere else, with someone more knowledgeable than I chirping in...

Regardless, at the moment FCPX ain't going to work for most of this because it's color controls seem pretty simple, etc. There will be a plug-in, I'm sure - for another couple $100 or so...

Thanks,
Max
 
Right, even if you do edit from a 4444 there's no way to get it into a proper color grading system for finish work. (Sorry but edit detect in Resolve, while awesome, is not an optimal solution). Besides the fact that storage space required for a 4444 transcode is enormous! Perhaps he was referring to the fact that right now, editing with Final Cut the reconform workflow is slower so it's not the "proper" methodology when working under tight deadlines. What is one to do when placed under tight deadlines when you have storage constraints?
 
Yeah, we haven't started doing this workflow yet as we don't have a redrocket yet (anyone selling?). Anyway, we were going to JUST reconform the shots we used as 444s instead of the whole batch as storage is very much an issue for us, as well.

Note (and this was news to me) the EPIC doesn't even generate proxies!

Max
 
Subhadip Sen said:
I pretty much feel the same way. (though I haven't used 5.5 much, I have worked on CS5)
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Me neither, i own it, but use it very rarely, usually just to do rough footage selection if i'm handled 5DMKII footage, which performs rather poorly on Vegas compared to Premiere on my system. As soon as i have a timeline with the clips i'm going to use, i rush out of premiere, usually to After Effects (the timeline export feature / dynamic link is nice gotta admit), or simply render a single clip to some intermediate codec and get to Vegas for the actual edit.

There's something very intuitive about Vegas Pro. It is just makes most sense and is my favourite interface. Sound is easily the best of all major NLEs.
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Word.

;-)

For R3Ds, Premiere Pro has the lead in performance as well as flexibility.
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Speed i agree with, but what do you mean by flexibility here?

All it [Vegas] needs now is some solid GPU integration.
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Word again. Maybe in Vegas 11... one can always hope ;-)

Anyway, back to FCP X. Seems much like a work-in-progress.
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Yep.
 
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