Benzebub wrote: I hope that they fix the "inconsistencies" between the color wheel and color curves and the results they produce in rec 709 and rec 2020 that Simon Ubsdell made a video about.
While they're at it, they could integrate the *color mask* with it's softness-slider into the eyedroppers of the color curves and the hue-saturation curves. Why? Am I wrong or is there redundancy as it is now? In Resolve, all HSL-qualifying allows me to blur the selection. That's not a tolerance ramp, it's like adding a mask layer in Photoshop or anti-aliasing the key (and just the key) for greenscreen. In 10.4, you need to make a selection twice to make that work (the color mask has it's own eyedropper).
I hope they fix the interlaced Mxf 25/50i bug for us in Europe , its impossible to work 10.4. with MXF 50i interlaced here. and its the broadcast format.
i also still hope for ..... better source timecode implementation ,.... flatten Multicam ..... replace with timecode. ..... better proxy workflow (adjustment of size and relink proxy only would be nice. option to export roles as heard and marked
I would like to have the ability to work with mixed proxy and original/optimised media. For example when mixing both HD and 4K footage, it would be handy to make proxies of the 4K footage and leave the HD as is...
And also it would be nice if it always (or gave you a message) exported using the original/optimised footage without having to switch back first...
Finbo wrote: ...petersxs, I use mxf 50i for my broadcast work and don't have any problems using it and exporting it. I haven't experienced this interlaced bug - only the slowing down of import times...
You should closely examine your deliverables to see if they don't contain this.
As petersxs said, one of the most-needed improvements is proxy workflow. Unlike some user-facing "UI candy", these deficiencies are very serious and negatively impact scalability and reliability. The current issues are described by Sofi Marshall in "The Ultimate Guide to FCP X Proxies":
It also needs some improvements in disconnected collaborative workflow, not just LAN-type collaboration. It needs collaborative improvements which focus on the Event Browser organizational phase, not just the edit phase. In large FCPX projects, typically much more time is spent organizing than editing, yet there is no really good way to safely distribute and gather work parcels among several assistants. We use MergeX which works but it has limitations:
Adobe recently improved the collaborative features of Premiere so hopefully Apple will do that for FCPX in a future version.
Also Arctic Whiteness has improved Library File Manager to export media locations to CSV, but such basic things as knowing where your media is should be supported in the core product:
Version 10.4 still has the spurious duplicate clip bug when loading an event XML if the on-disk camera filenames are not unique. This imposes a requirement to rename all files for global uniqueness across all projects for all time, else it's impossible reliably use XML without risk of spurious duplicates:
FCPX badly needs additional performance improvements for transcoding H264 on the iMac Pro. Currently the iMac Pro is slower than an iMac at importing and creating ProRes proxies from 4k H264 and slower at exporting ProRes to 4k H264. This is likely due to their initial attempt at using AMD's UVD/VCE hardware transcode acceleration. This really needs to be improved.
import an Mxf 50i , best a master clip you edited with 10.3. or earlier, put it in a project ( automatic setting or manually the same as the clip ) . if you don't have a Broadcast monitor with Blackmagic , Aja or similar be shure to enable show both fields in the viewer settings ! then put the playhead exactly on a cut. you see two different fields . one from the outgoing and from the incoming . and if you look closely playing ( with show both field enabled you can also see that something is wrong .
I have done the above and yes I can see the two fields you mention when the playhead is on the cut point.
When you play the item at normal speed on a laptop it's difficult to tell that there is a problem. It looks more like a virtually imperceptible mix between two shots.
If both fields isn't selected in the viewer settings then you don't see anything at all on my laptop. And I think that is why many people wouldn't have realised there was a problem because both fields isn't the default setting and even if you turn it on when you power down your computer the setting isn't saved. So, the next time you power up, you would have to manually select it each time.
I think the average viewer watching wouldn't have notice it all.
But, I agree, it's frustrating and does make me think if some of these problems/bugs weren't there in 10.3, how have they been allowed to creep into 10.4?
Let's hope 10.4.1 isn't far away and these problems are properly sorted then.
Apple is introducing a new update to Final Cut Pro X, the most popular version of its professional video editing software, with more than 2.5 million seats. Final Cut Pro 10.4.1 introduces a groundbreaking format from Apple, ProRes RAW, which combines the visual and workflow benefits of RAW video with the performance of ProRes. The update also adds advanced closed captioning tools that allow video editors to easily view, edit and deliver captions from right within the app. Apple is also adding complementary new features to Final Cut Pro companion apps, Motion and Compressor.
Unfortunately, no mention of what bugs have been fixed with this update, just the headline features.
It’ll be interesting to see if any information is released prior to the update being available from Monday.
Pretty excellent precedent on Apple’s part to announce the update ahead of time. Though only 4 days away, this falls in line with their stated aim towards increased transparency. Maybe in the future we’ll have weeks lead in to a major update, which could of course help telegraph impending project workflows. Bravo to Apple.