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A Nice Plus
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[Jeremy Garchow] “How is X any worse than FCP7? I’d say it’s at the very least, better. Do you disagree?”
I do not disagree.
My point is that Apple, to attract “artists” or unskilled users, eliminate options that could be easily available.As an example: You mentioned few days ago you were using “x264”.
If Apple would be supporting “x264”, Apple wouldn’t be offering the option that you find in the free component just to don’t scare potential users.Would you accept PR444 as the sole intermediate codec for FCPX just to simplify?
Is great that FCPX is able to render 32bFP RGB, but let me work in 8bYUV when I’m making a draft export.
Its makes no sense pre-rendering in 32bFP. You go there for a final export. People don’t set AE to 32b till they export.[Jeremy Garchow] “So, let’s say you are Apple, what is your alternative besides writing “don’t buy the wrong gear and don’t make the wrong choice!” in the manual? Are you saying they should give “lesser quality” options to teach a lesson? What is the way to go?”
Nothing about teaching lessons.
Don’t we scalable codecs on exporting where we can chose bit-rate, bit-depth, key frames and number os passes?
We have options in conversion, we have options in compression, why not in rendering?
Don’t force everybody to wear mittens because some people don’t know how to put gloves on.
rafael -
[Rafael Amador] “Its makes no sense pre-rendering in 32bFP. You go there for a final export. People don’t set AE to 32b till they export.”
Many operations will yield drastically different results in floating point versus 8-bit or 16-bit RGB because float doesn’t clip. You can work in 8-bit and render in 16-bit and the results will be more or less the same (just rendered with greater precision and less banding), but if you work in 8-bit and render in float, you could be in for a big surprise with the look of your final render.
[Rafael Amador] “Is great that FCPX is able to render 32bFP RGB, but let me work in 8bYUV when I’m making a draft export.”
I’m trying to understand what it is that you really want with 8bYUV. At first I thought you wanted the ability to directly manipulate luminance and chrominance channels (which you can still do in other RGB-based apps, though not FCPX). Do you want to be able to compromise quality for speed?
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
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[Rafael Amador] “My point is that Apple, to attract “artists” or unskilled users, eliminate options that could be easily available.”
So, in your opinion, you’d want a YUV<->RGB transform in an NLE? What would you do with it?
[Rafael Amador] “As an example: You mentioned few days ago you were using “x264”.
If Apple would be supporting “x264”, Apple wouldn’t be offering the option that you find in the free component just to don’t scare potential users. “Then it’s a good thing that x264 is out there for people who “need” it. As a business decision, Apple would probably do more harm than good in releasing all at control to every user they have. It would probably cause more problems than they would have time to support.
[Rafael Amador] “Would you accept PR444 as the sole intermediate codec for FCPX just to simplify?”
No, I do need lower bandwidth sometimes, and 422 is fine for most of my work. X only offers 10bit timeline codecs. I’m ok with that, even when working 8 bit.
[Rafael Amador] “Is great that FCPX is able to render 32bFP RGB, but let me work in 8bYUV when I’m making a draft export.
Its makes no sense pre-rendering in 32bFP. You go there for a final export. People don’t set AE to 32b till they export.”If working draft, then using the Share menu goes much faster, even when your timeline is not rendered. If you need/want more control, then render and export a QT movie. I turn auto rendering off in X, and I highly doubt those previews are processed in float until render. Wokring in draft in X to me means, no rendering at all until I want to. 32bit in AE is sloooowwww, I do work in 16bit, regularly though.
[Rafael Amador] “Don’t we scalable codecs on exporting where we can chose bit-rate, bit-depth, key frames and number os passes?”
Depends on what you are delivering I guess, and what the standard calls for. The only place I can think that this would be helpful is delivering for the web. Most other deliverables are standardized for a reason. If a station wants 100 or 50 or 35 mb/sec in a certain wrapper/codec, then that’s what I deliver and there’s a plethora of free or for pay tools that let me get there. A 1000 mb AVC-Intra wont help me as no one would be able to read it. I’m just glad that steps have been taken to minimize the mess that was QuickTime. It’s a good thing and needed to be simplified in my opinion. If AVFoundation offers a cleaner decode and subsequent pass off to 32bit RGB rendering, I’m all for it, and if it’s easy, I’m OK with that too. It allows the utmost in quality through the edit. If you need to clamp the quality, you can do that from a high quality master out of the NLE.
If you want and need that granular control, you’d have to work in an agnostic NLE like Premiere and buy a third party codec that may or may not be around in 3 years. Having everything completely open is a double edged sword, in my opinion.
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[Jeremy Garchow] “By they way, maybe you want this, Rafa:
https://www.dvgarage.com/conduit-64bit-beta“
Thanks Jeremy, I’ll have a look.
I learnt of Conduit for FCP too late otherwise i would have tried with it (now is too late).
I love compositing with Nodes. I keep working with SHAKE.
rafa -
[Rafael Amador] “I learnt of Conduit for FCP too late otherwise i would have tried with it (now is too late).
I love compositing with Nodes. I keep working with SHAKE.”It also has transform nodes. The 64 bit beta for FCPX has a trial. It still works in 32bit float, though.
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