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iMac Pro or next year’s Mac Pro?
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[Andrew Kimery] “I was half kidding when I said it, but I’m digging my idea about companies sending export presets for editors to use. Obviously this wouldn’t be viable in all cases (like Don’s or where the client doesn’t have the tech knowhow to do it), but if Netflix can write up a 53 page deliverables guide I’m sure they can make some export presets to go with it. ;)”
That would actually be a great idea. Pretty easily done for Avid, Adobe, and Apple compression. But they would also need to supply other spec info that affects the master before encoding, like loudness compliance, as well as captioning.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “But they would also need to supply other spec info that affects the master before encoding, like loudness compliance, as well as captioning.”
Exactly, still lots of pre-export details to comply with, but having an “Export for Netflix” button would, to Bill’s point, simplify things for editors/AEs.
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[greg janza] “A big maybe. So far there’s no viable argument for any resolution higher than 4k in regards to image quality and the human eye being able to detect a difference and even 4k is a long way from being adopted as the default broadcast format.”
I completely agree – in terms of spatial resolution and image quality, 1080 makes for a great distribution and viewing experience, so 4k broadcast doesn’t even make sense to me… but from a marketing standpoint, more k’s are easy to sell. A few years ago, I didn’t think anyone but filmmakers really cared about 4k, now, it seems that you’re behind the curve if you don’t have a smartphone that shoots UHD. I just have a sinking feeling that 6k or 8k will become the new UHD sooner rather than later, even if there’s no real need for it. ☺
Shawn
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Yep.
I’ve had that for six years for basic YouTube and Vimeo delivery directly out of the Share Menu – and that “plumbed in” automated one-click system has improved by leaps year-over-year as those tech systems have grown.
It should not be lost that Frame.io just got that new $20 million round of VC financing – and that Emery Wells and the team there said a priority was enhancing transfer security – presumably to allow the big content players like Hollywood to use it fluidly.
That tells me they don’t view file size as a stopper.
And as someone lucky enough to have Consumer fiber at home – I can vouch that bigger pipes make a multi Gig video upload faster and easier for me today than a 30 min audio upload was in my youth.
There’s nothing I’d enjoy more than consigning the competing delivery specs battles to the past. They are an awful distraction from the creative work that should actually drive project success.
My 2 cents.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
I just exported a tv show for a local channel today and the encoder preset I used to make the master for them was a custom preset that the station sent me.
I love the idea of custom presets for all delivery.
I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles -
[greg janza] “I just exported a tv show for a local channel today and the encoder preset I used to make the master for them was a custom preset that the station sent me.”
That’s awesome. I wish more people would do that.
I had something similar a few years ago where I was trouble shooting a very weird playback bug with the deck op. Long story short, after lots of trial and error he made a custom setting in AME that worked w/his playback system and emailed it to me.
[Bill Davis] “That tells me they don’t view file size as a stopper.
And as someone lucky enough to have Consumer fiber at home – I can vouch that bigger pipes make a multi Gig video upload faster and easier for me today than a 30 min audio upload was in my youth.”
If Frame isn’t concerned about file sizes then they really need to get rid of the file size limits on user accounts. ????
With regards to fiber, only about 10% of the users in the US have access to fiber so the ‘just get a bigger pipe’ solution is a none starter. I think the vast majority of users would find 100gig-1TB uploads problematic considering the current state of Internet access across the US (and it’s about to get much worse) both in terms of upload speeds (which for cable tend to top out around speeds of ‘up to’ 20Mpbs and much less for DSL) and data caps. Of course you could upgrade to a business account to avoid the caps, but then you’ve got to pay a lot more money to get the same upload speed.
Again, for short form this isn’t really an issue, but when you go from content lengths of 60sec to 60min to 120min then all of a sudden problems of scale start to appear.
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[Andrew Kimery] “but when you go from content lengths of 60sec to 60min to 120min then all of a sudden problems of scale start to appear.”
Just as a frame of reference, a half-hour TV episode – HD, 25-30 min, ProRes/HQ/4444 – is around 30-35GB. If you have to deliver a master, a split-track/textless master, and in both NTSC and PAL variations, you’re looking at around 120GB+. That’s a long up or download for most folks. And without Aspera or similar, generally unreliable and failure-prone.
– Oliver
Oliver Peters – oliverpeters.com
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[Andrew Kimery] “Again, for short form this isn’t really an issue, but when you go from content lengths of 60sec to 60min to 120min then all of a sudden problems of scale start to appear.”
Yes and no in my experience.
You only need ONE entity to upload the master content bucket to one location – one time. Theoretically, that could be happening over a week while The whole team is cutting away on matching ProRez, DNX or even H264 versions.
And there’s nothing to stop someone from setting up a rules based upload system where small chunks of the master timeline “o-neg” are uploaded as parts of the project are approved – or they go off to full Rez required processes like VFX.
There’s no functional reason I can see to wait to do one big massive upload after everything is finished.
It’s how rendering works already. Why not upload?
Just thinking out loud.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Oliver Peters] “If you have to deliver a master, a split-track/textless master, and in both NTSC and PAL variations, you’re looking at around 120GB+. “
See, that’s what I just don’t get.
The way X works right now – those splits and M&E versions are just pointers to the original files that your desktop computer renders out on demand.
Seems to me that with a depository if the original frames in the cloud to link to – it would be massively faster to have the big iron behind the cloud apply the version metadata against the stored frames – rather than to replete upload the same underlying data again and again and again..
Why would you ever need to re upload multiple versions of the same exact frames? It makes no sense to me.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Oliver Peters] “If you have to deliver a master, a split-track/textless master, and in both NTSC and PAL variations, you’re looking at around 120GB+”
Well, lately it’s HD and then UHD masters. I haven’t had to deliver SD in 5 years. So the file sizes are LARGER.
[Oliver Peters] ” And without Aspera or similar, generally unreliable and failure-prone.”
Which is why typically Aspera is used. Except for the 220GB UHD files…those I ship on a hard drive.
Shane
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Read my blog, Little Frog in High Def
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