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iMac Pro or next year’s Mac Pro?
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Ryzen and Threadripper are not that great and are out performed by the Intel CPUs. They do offer a decent bang for the buck but I would prefer an I7 8700K over Ryzen. Keep in mind Ice Lake and Cannon Lake will hit the market in 2018. 2018 will be probably better than 2017.
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[Don Scioli] “Not with Closed Captions, I’ve tried this in FCPX and Compressor, unless you know of another way. (Avid does)”
Very true. Not with captioning.
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[Bill Davis] “It’s due Saturday, but as usual, I’m done days early, thanks (in my opinion) to X.”
What do you want, a medal?
[Bill Davis] “It schooled me to believe that the difference between what is ACTUALLY required – and what asked for – is so often VERY different, just because people find it so hard to evolve and change as technology changes. “
Just the opposite is actually true. The business has made huge technological changes. When I began in the business I was creating tv show masters on 2 inch tape and delivering BetaSP or Digibeta to networks and all of this process occurred on a massive switcher/edit system. I now deliver tv show masters from my PC as a digital file uploaded to the web in 20mins.
[Bill Davis] ” I can also see how large operations might worry about how they can maintain security and professionalism across a system where a guy like me in Arizona can feed Hi-Def content to the whole planet in a second.”
You and everybody else.
I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles -
[Bill Davis] “It’s due Saturday, but as usual, I’m done days early, thanks (in my opinion) to X.”
I’ve had to online, grade, (well, redo as they were done before, but poorly, by another company) and deliver 6 shows. And I’ve been able to grade and blur (blurs that TRACK very well) each hour long episode in about 10 hours. Thanks to Avid Symphony and having grades I apply to one clip be applied to all instances of that same clip name. And thanks to Boris Continuum and MOCHA for the tracking of a lot of blurs with a lot of movement. Because of those tools, I was able to get the shows onlined and graded and blurred in a fraction of the time it’s taken me to do other shows of similar length.
And I was able to output an MXF XDCAM OP1a VERY easily and very quickly and passed QC on 4 of the episodes thus far, the only ones I need to redo are because something that was blurred turns out not to need it.
Right tool, for the right circumstances. X is good, Avid is good…depends on your needs.
[Bill Davis] “I understand that others work in environments where people are SUPER skittish about the new disruptive digital distribution platforms.”
Not sure how many of those places are left. 5 years ago my deliverable was tape, tape, tape. Now…a variety of digital delivery options. No one seems to be skittish about this.
[Bill Davis] “people find it so hard to evolve and change as technology changes. “
I’m not seeing that at all. I’m seeing all sorts of people shifting to Premiere, shifting to FCX, updates in Avid coming every month with new features every time. New deliverable options, new tools to help get done what needs to get done quickly. Now, just because we all don’t use FCX and think it’s god’s gift to the NLE and the answer to EVERYTHING UNDER THE SUN doesn’t mean we find it hard to change. It means FCX doesn’t address the needs we have. SO GLAD it helps you and many many MANY others. You really need to let go of this obsession with FCX being the best thing since shaved ice and the answer to every single post workflow need in existence.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Bill Davis] “I understand that others work in environments where people are SUPER skittish about the new disruptive digital distribution platforms.”
Aside from already established media distribution companies (like cable companies) who’s super skittish about digital distribution platforms these days? Certainly not people that work in content creation because these new platforms need content and that’s generally good for people that work at creating content.
Almost 10 years ago exactly I was sitting in a hotel room in Vegas editing post-event packages for a UFC fight and the Video Game Awards show that took place that weekend. I went to town w/a FW800 hard drive, an HDV deck and a MBP. Edited videos were uploaded to the company’s FTP where Episode made all the versions and then they were automatically published to our website. Aside from swapping the deck for a card reader the workflow hasn’t changed much (though the upload speeds are thankfully way faster these days). Oh, and this was for a website owned by Viacom (old dog, new trick).
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[Andrew Kimery] “Aside from already established media distribution companies (like cable companies) who’s super skittish about digital distribution platforms these days?”
Sorry. I thought that was the main point of Shane’s posted rant.
The difficulty of getting his deliverables out.
The way he described it just seemed utterly foreign to my experiences these days and it seemed strange.
Must have mistaken his text.
(This specifically: Lately I’ve been delivering OP-1A MXF and it’s surprisingly simple, and low file size. 20GB for 46 min, 8 tracks of audio…very simple output. And yes, one network did relent and say they would take DNxHD as a deliverable, but I have four others who still insist on ProRes.)
That sounds like the nightmares I used to face and generated my post about my workflow. Which simply doesn’t involve that stuff any more. That’s all.
Sorry.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “Sorry. I thought that was the main point of Shane’s posted rant.”
No, the point is that a few networks I deal with demand ProRes QT deliverables. Won’t take DNxHD…won’t take OP1a MXF. NO, they aren’t backwards and still want digibeta or HDCAM tape…they want digital delivery, so they are hip to the current trends. But only want ProRes.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Shane Ross] “No, the point is..”
I thought this thread was about computer hardware, not how Bill delivers to the world, while sipping a margarita in Arizona ☺
– Oliver
Oliver Peters – oliverpeters.com
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I think back in the day deliverables for video were pretty straight forward. NTSC or PAL? Beta, 3/4″ or VHS? Once a few basic questions were answered there was no room for confusion. Now codec, wrapper, frame size (including square), frame orientation (portrait is a thing if you are doing social), frame rate, bit rate, etc, are all up for grabs. What’s the line, the great thing about standards is that there are so many of them? 😉
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ProRes CAN be made on PC.
If you use Adobe stuff, it’s a simple plugin that catches the uncompressed video down the pipeline, and uses FFmpeg to output ProRes.If you use Avid, you can render to an inbetween and transcode to ProRes with FFmpeg.
ProRes as input is supported by close to all PC NLE’s afaik.
hth,
Bouke
http://www.videotoolshed.com
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