Mac Pro Workflow

[Matt Setnes]

Will the new FCP 2 be efficient enough to edit 4k Red on a Mac Pro with 2 dual core?

I know quad came out, but no sense in buying the quad core until Leapord is released.

[Jabez Olssen]

Will the new FCP 2 be efficient enough to edit 4k Red on a Mac Pro with 2 dual core?

I know quad came out, but no sense in buying the quad core until Leapord is released.

I cut 'Crossing the Line' on a dual dual-core Mac Pro with FCP5, using native 4K redcode files in 1k proxy mode. It never dropped a frame.

Also my Assistant Editor was working with the native 4k files in FCP on a MacBook Pro (Core 2 Duo). That too worked fine.

cheers

-Jabez Olssen

[M Most]

I cut 'Crossing the Line' on a dual dual-core Mac Pro with FCP5, using native 4K redcode files in 1k proxy mode. It never dropped a frame.

Also my Assistant Editor was working with the native 4k files in FCP on a MacBook Pro (Core 2 Duo). That too worked fine.

I'm curious as to whether you were able to compare the performance of this approach to, say, transcoding to a lower overhead codec, possibly DVCPro or ProRes. Although there is certainly a significant amount of convenience to be achieved by using the 4K footage directly (less copying, no transcoding time, etc.), I would think that for creative flexibility and more editing fluidity, there might be some advantages to the transcoding workflow, especially if one is using transitions and/or multiple layers of video.

[Jabez Olssen]

I'm curious as to whether you were able to compare the performance of this approach to, say, transcoding to a lower overhead codec, possibly DVCPro or ProRes. Although there is certainly a significant amount of convenience to be achieved by using the 4K footage directly (less copying, no transcoding time, etc.), I would think that for creative flexibility and more editing fluidity, there might be some advantages to the transcoding workflow, especially if one is using transitions and/or multiple layers of video.

I'm sure there are many advantages to transcoding to another codec, such as ProRes. But we were facing a daunting deadline and could not spare the time it would have taken to transcode the eight hours of rushes. We had to start working on the offline as soon as possible.

cheers

-Jabez Olssen

[Christian Berg]

Jabez, did any effects work in realtime? Like a dissolve? How responsive is the playback in FCP using 4k redcode raw? What was yor sequence settings?
Thanks!
/Christian

[M Most]

I'm sure there are many advantages to transcoding to another codec, such as ProRes. But we were facing a daunting deadline and could not spare the time it would have taken to transcode the eight hours of rushes. We had to start working on the offline as soon as possible.

Yes, I understand, hence why I mentioned the time savings in the original question. And it's nice - really nice - to actually have that choice at all.

I'm still curious, though.

[Trevor Meier]

Cogito,

What were you using for monitoring, since you were editing for a projected image? Do you know what the final cut was mastered to? What colour space/file format? Were you able to accurately monitor for your final output on your edit station?

[Corrado Silveri]

Cogito,
you actually cut Crossing the line?
Please, explain all the process in depht! Ingest, off_line, on_line, plug used, render times, grading, fx, delivery.

We need to understand all that you can explain (without loosing your job)...
Please!

[REDAndWhite]

Cogito,
Please, explain all the process in depht! Ingest, off_line, on_line, plug used, render times, grading, fx, delivery.

We need to understand all that you can explain
Please!

Yes, cogito. That would be a useful piece of information for all of us. I hope you can find a couple of minutes to post a quick summary.


Thanks in advance.

[Jay A. Kelley]

Same here sir!
Jay