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Developers to get XML code from Apple in 2 weeks.
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THANKS WALTER….exactly what I was looking for…and I would assume ours will end up with similar conclusions.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Make sure you pay attention to Walters comments on hardware with PPro. On less an an 8 core machine, it’s performance drops considerably (to “not really usable” in my case)
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[John Pale] ”
Make sure you pay attention to Walters comments on hardware with PPro. On less an an 8 core machine, it’s performance drops considerably (to “not really usable” in my case)”I don’t know about all hardware, but you should not use the AJA Kona boards on less than an 8 Core MacPro machine, particularly if you plan to use ProRes.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
WOW so you jump right from FCP7 straight Premiere?
I would have imagined you would have stay on course with FCP7 for a bit… -
It’s the same with Blackmagic Decklink, based on my tests. Maybe a bit worse.
Sorry I wasn’t clearer. -
[Andree Franks] “WOW so you jump right from FCP7 straight Premiere?
I would have imagined you would have stay on course with FCP7 for a bit…”why? It’s EOL. Time to move on. FCP Projects move into Premiere Pro easily. Keyboard shortcuts work the same if you want them to. It works with our entire infrastructure. If X works for you, then stay with it, but I see no need to stay with a product that’s dead.
It was the same when Avid purchased the Pinnacle CineWave board years ago. There was no way Avid was going to allow one of their hardware boards to work with Apple Final Cut Pro, even though Pinnacle was trying to make it sound like it would stay around. So I immediately switched to the AJA Kona boards and it was one of the best decisions I made. In fact, AJA has made the transition into Adobe that much better because they support the product and they are giving me a lot of great useful information in setting up our shop.
As folks are saying on a lot of these forums, “stop looking backwards, Apple isn’t.” So I’m moving forward with Adobe while keeping an eye on the new Avid MC6. Also playing with an evaluation copy of Smoke which is a lot less scary than I thought. 🙂
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[John Pale] “It’s the same with Blackmagic Decklink, based on my tests. Maybe a bit worse.
Sorry I wasn’t clearer.”Best as I can understand the explanations it’s something to do with the 32bit QT files having to be converted to play in the 64bit app and the four core machines just can’t do this fast enough.
If you open up the Activity Monitor on the system, you’ll probably see that all four of your cores are completely maxed out the moment you start to play video through your video card. Use a non video card timeline and the video will play fine.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[walter biscardi] ” There was no way Avid was going to allow one of their hardware boards to work with Apple Final Cut Pro, even though Pinnacle was trying to make it sound like it would stay around.”
But that was nowhere near the case. Pinnacle hadn’t updated Cinewave since 2002. By 2005, there was talk of a class action suit by Pinnacle customers which didn’t come to pass, based on Pinnacle’s failure to keep the promises regarding Cinewave that you refer to, Walter. This was on Pinnacle’s watch.
The hardware whiz behind it, Carl Calabria (who also developed the TrueVision NuVista), became the VP of Engineering at Avid, where he had plenty of other things to worry about — but had already turned his attention to other things while still at Pinnacle, including Liquid hardware and storage. Cinewave had virtually zero sales, and no effort BY PINNACLE to update, *before* Avid acquired Pinnacle. It would have required a massive *resurrection* effort for a product that was far from the state of the art by then. Avid simply *declared* the death of a product that had died at the hands of its creators.
I’m stating this in overly broad terms, but still the gist.
In fact, though, if you look around the archives, you can find discussions as early as 2001 of people having second thoughts about their decision to buy Cinewave in the first place. My favorite quote, from August 19, 2001 by Jeffrey Fitzgerald, is “it seemed to me that Cinewave was the most versatile and forward looking piece of hardware on the market – but that does require a leap of faith in terms of trusting Pinnacle.” He was right on both counts: it was forward looking, and Pinnacle wasn’t committed to it for the long haul.
You might also ask yourself, where did all the other hardware vendors go? Pinnacle axed TrueVision, which supported FC on Windows ;-), Matrox is back in a big way with MXO but had one of the first cards to go, along with Digital Voodoo, Aurora, and a box from ProMax that died in the water before launching – ask those guys who killed them. The company whose name starts with A is NOT Avid. I don’t know if this was a factor with Cinewave or not.
(Worth noting: Avid has supported FCP in a number of ways. Unity supported FCP clients 5 or 6 years ago. Media Composer reads ProRes on both Mac AND on Windows. And Euphonix hardware obviously supports Final Cut Pro. It says right on Avid.com that they offer “unmatched control and integration with Final Cut Pro.” Some of the assumed antipathy is simply not the case.
And certainly not like Avid killed Liquid software or hardware after buying it with Pinnacle. Pinnacle’s hardware supported uncompressed before Avid’s did, which Avid showcased on stage at NAB 2005. The significant development plans underway at Pinnacle very much continued, with Avid’s full support, for years afterward. Liquid was also supported by a dealer channel that Avid grew, not contracted. They kept Liquid to fill a gap in the product line that Media Composer software eventually filled better, but like all acquisitive companies, whether Apple, Avid, or Adobe, you mostly buy things to make money off of them until you can’t anymore.)
That said, I think you were entirely right about Cinewave, Walter – just a little off about who killed it, and when. 🙂
In the case of FCP, there were a lot of people who had started looking for their next NLE after the last, very weak, update to FCS, and were holding out to see what this release offered. Now you know.
This was another case of declaring the death of something (a future with FCP along a similar development path) that Apple clearly had no intention of following through on at least two years ago. Now is the PERFECT time for many people to make their next move, even if for others, it’s a better time to wait.
Once your vendor of choice has shown that their future differs from yours, though, you need to make a call. I admire your boldness, Walter, and always have.
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Why are you thinking I or we are sticking with X?
We use all three A’ Avid, Adobe and Apple! We try to stay open not a big fan of software island… -
Thanks. It’s even worse in my case, as I have an early MacPro, which can run 64bit apps just fine, but can’t run the 64 bit kernel. This affects how the computer can talk to hardware, like I/O cards.
A new machine isn’t in the budget right now, but I may look for a more recent 8 core on the used market.
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