Premiere Pro reaches a milestone

[Andrew Kimery]

They were using some beef HP towers!

[Robert D’alexis]

Yes, you might say that. 🙂
And yet, the next generation of workstations will be even beefier: dual 18 core Xeon, 1 TB of DDR4 RAM, new Quadro cards, etc.
Enough to make one salivate at the prospect of using such a beast of a machine.

[Jeremy Garchow]

That sure is some beef.

For 2.5k ProRes @ 1080, you could edit on an iMac.

But then it wouldn’t be an nvidia case study.

🙁

😐

🙂

[Robert D’alexis]

Point taken. 🙂

[Shawn Miller]

[Jeremy Garchow] ”
For 2.5k ProRes @ 1080, you could edit on an iMac.”

Sure, but there were also the DPX sequences for VFX work… I assume those were 10bit? Maybe that’s what the beefy machines were for.

Shawn

[Jeremy Garchow]

[Shawn Miller] “Sure, but there were also the DPX sequences for VFX work… I assume those were 10bit? Maybe that’s what the beefy machines were for.”

But of course.

That, and the 6k 4cam multicam.

I bet editorial was relegated to the 2011 MacPros. 🙂

Jeremy

[Michael Phillips]

The DPX files were probably 16bit at the very last considering the R3D files are 12bits

Michael

[Shawn Miller]

[Michael Phillips] “The DPX files were probably 16bit at the very last considering the R3D files are 12bits

Michael”

Yup, completely possible. I would be curious to know what those VFX shots were, and what their pipline/workflow was. Was this a Maya/Nuke/Houdini/AE show with Pr as the hub… or maybe a Modo/Fusion/Ae/Mocha show, again with Pr as the hub. Would really like to see some BTS stuff on this.

Shawn

[Oliver Peters]

[Jeremy Garchow] “That, and the 6k 4cam multicam.
I bet editorial was relegated to the 2011 MacPros. :)”

The NVIDIA case study says that, but I suspect multi-cam editing was only done using the 2.5K Proxy files. Not really that demanding on those machines and those cards. And yes, I’m sure the 2 Macs were used for editing – probably as an editor preference.

If you read any of the past articles about workflows for “Zodiac”, “Benjamin Button”, “Social Network” and “Dragon Tattoo”, the in-house editorial operations have always been very specific to their working style. The last two have been RED jobs, where a lot of the prep work used After Effects prior to the edit. My guess is that all the brawn was applied to pre-editorial and post editorial (conforming) tasks, requiring fast throughput and debayering of RED files, without the use of Red Rocket cards.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Timothy Auld]

I am guessing not.

Tim