TIME FOR A CHANGE Written by Mike Pecci Filmmakers. I’d like to tell you about a recent choice I made that would effect how I do my projects as an artist and as a filmmaker. I have been long frustrated by constant upgrades slowing down my edit suites and dealing with Apple’s constant push for creative professionals to buy over-priced Mac Pro systems. I was on a mission to find something new, faster and less expensive. Join me as I tell the story of how I broke away from Apple’s marketing and built our new PC based 4k video editing system.
Our photo retouchers use only the best desktop computers for photo editing, so I’ll share some experience on First, decide what you need a PC or laptop for. If your style of life and work is active, opt The iMac 27' is the best Mac computer for photo editing. This device posses a new graphics. Mac or PC, a desktop will run your editing software better than a laptop for less money. MacBooks are very capable of running editing software if you make sure they have some essential upgrades (see the Mac Recommendations section below).
For the past 16 years now I’ve been producing and directing visual content (music videos, commercials, photography and films). Together with my business partner Ian McFarland, we run a small post-production facility at McFarland & Pecci. Our company prides itself on developing cutting-edge work, while constantly pushing the limits of modern technology. Our edit house needs to stay on top of the latest techniques and equipment while creating edits for broadcast, web, and theatrical distribution. However, I strongly believe that cameras, laptops, lights, and edit systems are just tools.
Use internet explorer on mac. Tools can help us create something beautiful, but they should never dictate how it should be done. Like the majority of post facilities in the film business, we’ve been primarily running Apple systems. Mac Pro’s have long been the standard computer for all of the film, photography and television industries. The people I respect use them.
The people who create my favorite content, use them. The people who make money, use them. The general consensus in the creative world is that you aren’t a professional if you don’t use Apple products.
It suggests that you aren’t a real filmmaker unless you are using a Mac Pro. This sentiment has become damaging, forcing artists to comply and shell out fistfuls of cash for the privilege to use Mac-based software in an effort to not just stay up-to-date with technology, but to fit in with the other artists. Apple ships out their glossy products with a promise to support the creative professional with reliable systems that never crash and structure for a simple workflow that always works. For the most part they do. They make very well put together products.
2008 microsoft office for mac. They better be for the price. At McFarland & Pecci, we had multiple Mac Pro towers running Final Cut Pro in our main edit suites. They made the clients happy and they made us happy. Then came new of the release of Final Cut X and how Apple was now determined to change things. With the tablet style interface, the loss of professional tool and most importantly the inability to open our old FCP7 project files -- this change had me worried. Apple announced it during one of the company’s giant keynote addresses and the rabid consumers scrambled to be the first to own it. I typically like to wait it out for a few versions to see how it actually works because I can’t afford any bugs messing up our current projects.
The Internet started buzzing with the problems caused by FCPX. It didn’t seem to integrate into a professional post workflow. It was frustrating to use, and most importantly, I wouldn’t open out FCP& project files.
We had years of work saved in those project files. Why wouldn’t they make the new version compatible? This seemed like way too much trouble for me, so I decided to not upgrade and keep editing with FCP7. Then new cameras started introducing new formats. All the clients were shooting with DSLR’s and recorded using the H264 codec. That codec runs terrible in Final Cut 7.