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FCS3: The REAL Game Changer is….
I’m really shocked that so for there has been more talk about Blu-ray support, LiveType, DVD Studio Pro than there has been about the new ProRes codecs! In fact, I haven’t heard anyone talking about ProRes Proxy at all! This is crazy!
Do you not understand what this means? It seems almost ridiculous that people are talking about how cool this is and how this is going to change a lot of people’s workflows.
The fact that you can do an edit in 1080P HD, full raster, at 2-4MB/sec is awesome. For anyone editing a documentary, feature, or anything longer than a commercial should be thrilled about this. This means that you can keep all of your raw footage on a single drive in a lot of cases.
Look at how AVID’s DNxHD36 changed the game for them. This is the same stuff!
This upgrade alone will save thousands of dollars and keep us from needing to upgrade from 20TB to 40TB of shared storage.
Also, for people wishing to finish their feature films on their desktop now, ProRes4444 is unbelievable! This can same people tens of thousands of dollars on their projects (it might not look very good depending on the talent running the software, but this is really a big move!)
I’d love to hear what people think!
-Russ
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27 Replies
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Hear hear. ProRes Proxie is huge. Now we have a true and easy tapeless offline/online workflow. Very light full raster codec for offline…lock picture…media manage as MAKE OFFLINE choosing the higher end codec…batch capture. FCP should recognize the IN and OUT points and import only the footage used in the sequence.
If people aren’t excited about this…where are their heads?
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
[Shane Ross] “If people aren’t excited about this…where are their heads? “
Obviously they’re really excited to watch their new project on Blu-Ray (at home because there is hardly anywhere else they’ll watch it)!
Thanks for the moral support Shane! I’m glad I’m not alone with my own excitement!
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
ProRes upgrades are exciting. I love me some ProRes.
I think we’re just all underwhelmed otherwise.
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Thanks Russell!!! It boggles the mind that people are complaining about Apple’s lack of BD authoring.
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Yeah….
Funny how this is all playing out. Maybe this is why Apple didn’t fix the things we wanted in the first place. Maybe, just maybe, Apple is trying to get us to look forward instead of looking backwards.
Its easier to replace than to fix for everyone. Its nice to see that Russell pointed out one of the MOST important features of the upgrade.
Now, my curiosity is wanting to know if Apple fixed the HDV-ProRes conversion to full raster 1920×1080, instead of the current 1440×1080 (which is standard for HDV).
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
agreed
ProRes family expansion has to be the biggest thing about this fairly modest update
looking forwards to test them in action..
and thinking how cool it will be when the next AjA Ki-Pro update supports the new flavors…
full raster 444 acquisition for under 4 grands.. and ready for post work
🙂 fun times ahead
Hector Berrebi
Schibber Group
prePost Consulting -
[Hector berrebi] “next AjA Ki-Pro update”
Would have to go over 3Gb SDI. But that would be very, very cool if it did support ProRes4444.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Ok, I think I might be VERY, VERY excited about this new Proxy Codec.
Even though I have been editing for over 20 years I need someone with a bit more technical know how to confirm things for me.
I do a lot of longform shows, concerts etc which tend to be shot 1080p with a lot of cameras.
A typical show might have 12 – 18 cameras and run for 90 – 180 mins.
Often you shoot 2 performances so you have double the amount of material. That is a lot of heavy duty full bandwidth stuff.Whilst some people might like to think otherwise, the only practical solution is to offline and then conform the show.
The advent of proxy files meant that that all this material could be ingested in less than a day rather than several days, but it also meant using Avid, which to be honest does the job well, albeit at a high price.
Does this new Prores Proxy codec mean that I can use the traditional offline/online workflow on FCP? And does it also mean that I can ingest offline material at the same sort of speeds (15-20x real time)?
If the answer is yes, and coupled with the remote approval facility, then this version of FCP might well change my life meaning that I can do a lot of my work from home!
PS. I have no interest in making bluray dvds.
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[Damian O’Neill] “Does this new Prores Proxy codec mean that I can use the traditional offline/online workflow on FCP?”
Yes.
[Damian O’Neill] “And does it also mean that I can ingest offline material at the same sort of speeds (15-20x real time)? “
That depends on what format you’re shooting. Tape or digital formats. You’re not likely to see import at 15-20x though.
Another cool thing is the number of multi-cameras you can edit with in real-time increases with ProRes Proxy.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Damian O’Neill] “Does this new Prores Proxy codec mean that I can use the traditional offline/online workflow on FCP?”
Damian, We’ve been using the classic “off-line to on-line” workflow with FCP for almost five years now. Long form. HD. Multicamera. (sometimes up to 14 cameras) It’s called “Off-line RT”, and the workflow is very similar to Avid. I don’t
know why you don’t think it’s possible in FCP.Mark
PS. Yes, editor’s can take their work home on a firewire drive.
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