-
My FCP X Studio and thoughts
-
[David Mathis] “I am planning on filming, in the traditional sense, with a Super 8 camera and my Bolex H16 camera in a few weeks. What would be the best resolution to scan in at. Also, would flavor of ProRes should I use?”
I believe film scanners, like ARRI, are 3K max. The Super 8mm probably isn’t even 2K of resolution. I would recommend 2K cinema scan to ProResHQ or ProRes4444. Then finish at 1080 for Vimeo. This gives you a bit of reframing room.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Check out what Kinetta Scanners can co with 8mm or super8 . there is more there than one would initially assume.
-
[David Mathis] “I am subscribed to Photoshop and plan to keep my subscription going forward unless there is a significant price increase. Mainly using it to do some work for title cards and move that stuff over to Motion for additional work.”
Why not simply go with Affinity Photo instead? One time payment of a mere 50 bucks, done. That’s what I did. And unless you need some of the few very specific Photoshop features that Photo doesn’t actually have yet (which it doesn’t sound like you do), you’re much better off for it, too, imho. Since it isn’t bogged down by age old code but rather brand-spankin’ new, it’s incredibly fast and stable in comparison. And the Affinity guys are making it better by leaps and bounds with regular updates. It displays in *actual* 10bit color depth on the new iMacs for example. The type of thing that is clearly easier and faster for them to implement. Take Affinity Design along with it, and you can toss Illustrator as well. The only thing I have left from Adobe is the occasional AE sub as needed. Which also has become extremely rare thanks to Motion.
https://affinity.serif.com/en-us/photo/
– RK
____________________________________________________
Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Gary Huff] “4K is really taxing my current setup, even when using a 1080 timeline.”
I don’t know what your setup is, but 4K isn’t the least bit of an issue on e.g. newer iMacs. Not even on the newer Minis that we have, as far as just plain editing is concerned. And on the machines that it is, we simply use proxies.
[Oliver Peters] “I would love to see how it would do with FCPX and all ProRes media, but not at this shop.”
That’s almost exactly the setup that we just installed. Only there are 12 of said iMacs and a Mini with the Promise connected as their MAM. Currently all daisy-chained via Thunderbolt. The most simultaneous edits we’ve had so far going on were six. In which case no one experienced any real lag editing ProRes HD or even native 4K… which was just astonishing. But… only in FCP, not PPro. It locked up and/or crashed a few times, for whatever reason, so we really couldn’t test much. Unfortunately we have to move it to a Gb Network soon, after which I’m curious to see the performance hit. But then we’ll probably just have to switch to all proxy past a certain amount of simultaneous edits, which are automatically generated on the server on ingest anyway, so not a big deal really. Hope to try successively upping the amount of concurrent playbacks one by one to see where the actual limit lies in the next couple of weeks.
– RK
____________________________________________________
Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
Yeah I don’t see much point in waiting. I’ve cut 4K on the current MP, MacBook Pro and iMac 5K and all blow through 4K footage in FCPX like warm butter.
What benefits are you hoping to gain by acquiring in Super 8?
Noah
FCPWORKS – FCPX Workflow
FCP eXchange – FCPX Workshops
Reply to this Discussion! Login or Sign Up