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10.2 update
Just made the update after sitting around waiting for confirmation that all was well.
The performance leap with RED and 4K ProRes footage is quite simply jaw dropping.
Very impressive, especially leaping around multiple projects and multicam sequences.
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
31 Replies
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It is quite obvious, Tom, that this software is not made for professional use.
FCPX represents the cauterization of over a century of visual communication practices. Apple has taken it upon themselves to problem solve tasks that are clearly quite undeserving of the effort. For now, and for ever more, the natural evolution of film history will be altered thanks to the unprofessionalism that this software emanates from every contextual menu, and from every frame that drips from a Thunderbolt cable in glorious 4k.
But, I’m glad your Red performance has increased. I hear the FCPX using soccer parents love shooting and editing Red footage.
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[Jeremy Garchow] “I hear the FCPX using soccer parents love shooting and editing Red footage.”
You should wander over to Reduser and see those doing just that!
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Soccer parents using a Red camera and editing with FCP X, brilliant! Wonder how many cat videos are filmed with a Red or even an Arri camera.
Just purchased a Bolex H16 camera, no need for a Red, might even sell my cinema camera. Then again, might keep it. Just waiting for Resolve 12, so if Apple makes another royal screw up at least with FCP at least there will be something else to use. Oh, yeah, going to learn how to use those glorious tracks again!
Honestly, it appears that 4K resolution is just another fad. Film will own any digital format, in my opinion. Done with my rant.
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[David Mathis] “Honestly, it appears that 4K resolution is just another fad.”
Probably not for acquisition or post… 🙂
Shawn
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Garchow:
10/10
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After a few days of pulling whats left of my hair out, I have to add more fuel to the flame that Premiere needs to be fixed NOW!!!
If anything that app is not ready for the real 4K world.
I dont know of anyone with a 4K camera locally except for a few DRAGONS, EPICS and Scarlets so I dont honestly know of any ARRI ProRes flavs to work with.
Trying to do the simplest things in Premiere of late has just been purely annoying.
Ive been using Premiere since v1 (yes Im that old) but never to tried to use it to this extent (RED projects).
Sure its smooth with QT clips and possibly MXFs (I dont know) but as far as R3Ds are concerned its a huge step behind FCPX, Resolve and now honestly Avid.
So back to the post.
I didnt notice it being faster since Ive been using FCPX with R3Ds since the beginning and comparably to others, it always felt faster no matter what update comes 🙂 -
Funny, as most of my agency clients are shooting some form of 4K/Epic 5K. Mainly so they can re-po in post and not take the time to “do it right” in the glass, on location. Pay them then or pay me later.
And as far as Premiere goes…. 😉
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
I’ve been doing a green screen project by starting the rough draft in FCPX and using Hawaiki Keyer. I can stack 3 or 4 4k streams with a rough key, and add dissolves and have this playback in good enough quality in FCPX to understand the edit, and make creative decisions with no rendering. It’s a bit mind boggling, really.
I then send that edit over to Ae via XML, do the keys, render out each clip with handles as 4k ProRes 4444 clip with alpha, and then reassemble the edit in the AE timeline. I then check the edit in Ae, and the collect the timeline with media and send off the Ae project to a motion graphics artist to be incorporated in to a much larger piece.
During the check of the Ae timeline, which is basically two or three ProRes 4×4 movies, the RAM preview is slower than the RAM preview for doing the keys, it takes 5 minutes to RAM preview a 20 second 3 stream ProRes playback. Why? Its feel like something is wrong, or that there’s magic juice in FCPX and Hawaiki Keyer. If I could, I’d do this all in Motion and enjoy near realtime playback, but it’s still easier to send an edit over to Ae than it is to Motion. I, too, find things to be better in FCPX but hey, I know nothing as I am brain dead for even thinking about using something that helps me to be more creative.
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From my experience Ive always found AE slower than any NLE for RAM preview.
NLEs does some tricky coding for playback making us feel its smooth and 1:1 🙂
AE tends to just be straight on grunt pixels in your face which I love (the CGI person in me) 😉
Maybe none of this makes sense but it does to me for the last 20 years 🙂 -
[Eric Santiago] “Maybe none of this makes sense but it does to me for the last 20 years :)”
But what I am saying is that, when I RAM preview the 4k shots with a key, this is faster than RAM previewing the rendered 4k files after I reimport them.
It doesn’t make any sense, at least to me.
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