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The New Mac
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[Bob Zelin] “And for the genius that said at the top of this thread “just get a Dell” – if you are a PROFESSIONAL PC user, you buy this – “
Bob, I think I’m the genius but my actual quote was
“Of course the r2MPro is better than the old MacPro. The question is whether it’s better than the Dell 7600 or whether it’s the optimal design for the new MPro.”
I didn’t mention the HP Z820 because their is no question, the new MPro will not be as good as a top of the line HP. I was trying to offer an alternative that I’m guessing will be in line with the price of the r2MPro. I could have referenced the Z620 but I mentioned the Dell because even though I know previous models had a bad reputation someone I work with who designs systems recommended the 7600 to me. Are you reacting to it out of a sense of history, or have you or someone you know had bad experiences with the Dell 7600?
As for the rest of your rant I agree that I’ve always had a multitude of peripherals tied into any editing computer PC or MAC. My problem with the r2MPro is that it requires me to get new peripherals in order to use my existing peripherals, at additional cost in space, power and finances. Now if the price is right and the r2 plus these new peripheral peripherals come in at a reasonable price, then no problem, but don’t try to sell me, as Apple is actively doing, that this is going to sit on my desk without an octopus of cables hanging off it – a little honesty in marketing would be nice, but then why start now I guess.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jim Hines] “These days, once you get beyond the subjective aesthetic appeal of the case; what are you really left with?”
Thunderbolt 2.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
And as soon as you’re done replacing all of your current peripherals with TB capable peripherals – a new format will be rolled out – promising a nano second or two more throughput – LOL – : )
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[Herb Sevush] “Your second example is just your first example sitting on it’s side – a little bigger maybe but not exactly a major revision.”
An evolution, not a major revision. Those little boxes could only take a couple of drives, and graphics cards hadn’t been invented. By the same token you could insist that an Ivybridge Core i7 is a little bigger maybe than an 8086. Just like biological evolution, things change in response to outside needs and influences.
Your standard box on the floor isn’t intended to be a major revision, just a nondescript box which does a job. If you decide to do something that doesn’t follow the evolved form, you’d just better be right. Those who buy the new Macpro will find out if they are.
Bernie
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this is correct – this is evolution, not revolution. In 10 years from now, let’s just say we have single CPU’s that can render as fast as a full render farm today, and each drive is 1 Pedabyte. So -isn’t this just evolution, and not revolution? People will still want to watch the same crappy “reality” shows – perhaps in 10 years, “everyone” will be able to make their own “reality show” because the technology is so cheap (just like every band today makes their own CD’s, and no one has a clue as to what to listen to except for Lady Gaga and Taylor Swift). So there will be zillions of “indy” TV shows (it’s already happening on Vimeo and YouTube, and this is just the beginning), and it will continue to chip away at our business. And it’s only because we will have 40 core processors, and massive drive arrays on an SSD stick that cost $200 bucks to buy. Even when that happens – it’s nothing new – its just evolution.
And the ONLY way we will be able to MAKE A LIVING at that point (when every iMac equivalent does 4K processing with 1 Pedabyte of storage, and 40 cores – all for $2800 bucks) – will be if we are doing 28K video holographic – it doesn’t make a difference what ridiculous example I state – as long as it’s DIFFERENT, state of the art, and people are willing to PAY MORE MONEY for it than what they can do themselves.Bob Zelin
Bob Zelin
Rescue 1, Inc.
maxavid@cfl.rr.com -
[Bob Zelin] “And the ONLY way we will be able to MAKE A LIVING at that point (when every iMac equivalent does 4K processing with 1 Pedabyte of storage, and 40 cores – all for $2800 bucks) – will be if we are doing 28K video holographic”
As long as you find somebody wanting to pay more money for something they might even not be able to broadcast just because it’s been produced with something prosumers couldn’t afford to buy. The satellite channel I produce contents for, which belongs to the most important broadcast platform here, still receives SD IMX file delivery. And if it were HD if would not be 4k or 3D. And this for a long time to come. They buy contents from me, in form of about 12 to 15 26′ documentaries per year that are broadcast here and sold in other countries, and allow me to feed and raise my three sons with my work, because the product I delivery has a more interesting content and a better look than what people can find free on the internet. And I work in a field where you can find a lot on youtube or vimeo. They don’t care much about where, how or what I work with as long as my videos pass editorial and technical QC and receive great feedback from people paying the yearly subscription. I see a lot of flavors in the video content production professional area, ranging from the large production house to the event videographer, maybe it’s not so easy to say what’s right or wrong for all.
Fabrizio D’Agnano
Rome, Italy
early 2008 MacPro, BM Intensity Pro, early 2008 iMac, 2011 MacBook Pro, FCP7, FCPX, OSX 10.8.3 -
My only CC multicam project so far was a music video, but it was created for a 50:9 display which presents a unique set of challenges. For this one I elected to do a lot of split screen (double and triple horizontal) and added some AE backgrounds when filling with a single angle or using a split didn’t make sense. While it was a music video it was a lot more involved than a simple line cut.
For my split screen elements I found the easiest way was to take a single shot, hold Alt/Option and drag the shot up to V2. Now I have a second instance of the multicam and am able to switch angles on V2 without impacting what’s already there on V1. Not quite matching back to the source that lives within the multicam sequence, but you can edit it as an individual clip adding or removing length, or even do a second cut line cut on V2.
If you’re on Mountain Lion Premiere works natively (64 bit) with ProRes, so there’s also that. They’ve also done away with the multicam window and embedded it into the Program monitor. You’ll have to manually add the multicam buttons to the monitor. I would recommend evaluating it when time allows. I was expecting split screen to be a pain when working with multicam, but was quite pleasantly surprised.
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Not sure about this. For starters a NLE is just one tool of many that is needed for production. Democratizing anything that was previously only in the hands of an elite class is revolutionary. Does democratizing carry with it the negative effect of old standards being compromised? Absolutely.
But it also carries with it far greater choices including truly interesting new expressions.The elite motion picture industry, as good as their product is, and they do keep pushing the envelope technically, still produces stuff that is often safe, mind-less, and condescending. They also employ a lot of gifted craftsman who are good at their jobs. Spending upwards of a $100,000,000 to produce one unimportant film whose target audience is the popcorn date crowd is obscene. You know why people might turn to Vimeo and the like – a) to see something different that can afford to take chances and b) because if it sucks it doesn’t cost them over $50 a pop (snacks included).
Has the whole production process become dirt-cheap? No it hasn’t. Has it become affordable to anyone who seriously wants to pursue it? Sort of. But if there is no money to be made for the new middle class of production, then it will fall out of fashion and again be left to the elite.
U-tube can take care of the cat videos, the voyeuristic and very short reality clips and goof ball crap. That’s what millions of people are already uploading. You’d think that would drive the networks away from this genre but it hasn’t. The pro versions are soapy manipulated garbage and I hope the mass uploads drives them out of that business.
Let’s look at the reality from the point of view of a middle class filmmaker who wants to shoot a narrative. What do you need? For starters, you need a script. (There was a time when only an elite class could read and write. And computers certainly took away the need to have good handwriting or be able to touch type accurately). Maybe a copy of final draft or any of the free programs on-line. You’ll need a camera. You want it to look pro or “film” like so you need a large sensor camera. At the lowest price point as of the last year, we are looking maybe $6000-$7000 (Black Magic Cinema with as much lens as you can afford). Though most of the serious contenders are still going for Red or Alexa at many times that or maybe the Canon c300 at several times that. You’ll also need a couple of batteries, chargers, a case, a tripod, a dolly, and perhaps a steady cam rig, and/or a jib rig, and/or a track and dolly, and/or a car mount, etc. Anywhere from $2000-$6000 (and up). You need lights and grip equipment – another $10,000 at least. Forget about day light temp HMIs for outdoor shots unless you want to rent. You’ll need audio gear – at least another $5000. You’ll need places to shoot and you’ll need to round up a crew and actors, which the truly ambitious can do but this requires the time to do it. Want to shoot green screen? Where? In your garage studio? Maybe rent a studio for those shots? Are you working at your day job? How’s managing your volunteer crew and cast coming along? And the collective group of these producers might be a threat to the entertainment market share of the elite but how are they making ends meet?
There are guys making 6 figures producing direct to Internet series. Most of them are pros or trained in professional practices and can be in line for pro gigs.
As for post, yes its way cheaper than it was when Avid bays were ½ mil and they still had to send the footage out of house for rendering. But in the last year the only difference is NLE software for $300 instead of $1000. Evolution for sure. Computers are about the same. Yeah they are way more powerful but the codecs demand this. When it dipped from $120,000 to 15,000 to set up a post computer, that was revolutionary. When the Sony vx1000 brought the entry-level camcorder down to $6000 that was revolutionary. But it looked like video and no one thought that film cams would die anytime soon.
What I would like to see is creative people being able to make a good living making artistic works in a variety of styles and genres and not the traditional elitist model where a single movie costs 10s of millions of dollars and the above the line folk are all millionaires.
Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.
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[Bernard Newnham] “[Chris Harlan] “Somebody needs some coffee.”
But he’s right. “
Of course he’s right. Coffee has little or no effect on being right or wrong, though–personally–I’ve noticed that it keeps me from grumping on people in the morning. Mostly.
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[Jeff Meyer] “For my split screen elements I found the easiest way was to take a single shot, hold Alt/Option and drag the shot up to V2. Now I have a second instance of the multicam and am able to switch angles on V2 without impacting what’s already there on V1. Not quite matching back to the source that lives within the multicam sequence, but you can edit it as an individual clip adding or removing length, or even do a second cut line cut on V2.”
If you had made real cuts, deletions, in the original multicam would the “second instance” of the multicam reflect those deletions, or would it show the original uncut multicam?
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf
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