Andrew Kimery
Forum Replies Created
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[Chris Wright] “https://forums.adobe.com/thread/1895281
“R9 390 is currently not 100 percent functional with adobe premier pro. It should be working during the render process even without special effects.”“card wouldn’t be 100% working until the next Premier pro update”
“That thread is about the desktop GPUs but the iMacs use the the mobile, the “M”, versions of those GPUs.
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[Bill Davis] “My follow up was a commentary on how despite the success of those folk in generating massive numbers of views – neither one resonates with me SPECIFICALLY as someone who might have insight into the utility of EDITING software.
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So I think he’s a more credible cite when discussing the utility of modern NLEs to produce stuff like YouTube content. “The switching of gears is what lost me but I get what you are saying now.
[Bill Davis] “You are, of course, perfectly free to disagree.”
Me, disagree with you, never! 😉
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[Teresa Brown] “Can anyone confirm whether any of the new iMac’s with Radeon R9 cards will do that? 380, 390, 395 appear to be the options. What other configuration factors on an iMac are necessary to run PPro successfully. This is primarily a graphic design station, but needs to work with Premiere on occasion.
“PPro’s GPU acceleration has supported both AMD and Nvidia GPUs for the last 3-4 versions I think. As long as the card has at least 1gig of VRAM then GPU acceleration should be possible.
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If you want to get better looking results then get the editors some training in color grading (the art of it, not in a specific program) and then get them some training in using the software they have access to (ex. PPro, SpeedGrade, Colorista, Resolve, whatever it may be) so they can understand the pros/cons of each, get a handle on the basics, etc.,. Then let the editors decide which tool they want to use. As long as they can meet expectations and deadlines it probably doesn’t matter if they use PPro or SG, right?
Sometimes I grade inside the NLE (usually with Colorista though I haven’t had a chance to check out the new grading tools in PPro CC2015) and sometimes I grade using Resolve (or Color back in the day). It depends on the complexity of what needs to be done and how much time I have to do it.
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I’ve never worked with merged clips as I’ve only read how problematic they can become down the line. I’ve also never used PluralEyes because I’ve always been happy with PPro’s built-in syncing tool. Multicam in PPro is always a nested sequence and I think it’s a far and away better solution than the clips that Avid and FCP 7 make. I know Adobe redid the audio tools in CC2015 so it might behove you to use that instead of CC2014.
What if you remove merged clips and PluralEyes from the mix and just select a days worth of A, B and Audio and use PPros built-in syncing tool to make the multicam?
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[Bill Davis] “Subscribers? Meh. Folks can get subscribers by dressing up cats. “
One post ago you brought up Michelle Phan (makeup demos) and PewDiePie (plays video games & gives questionably humorous running commentary) as examples of people who apparently have insight into the video industry due to their massive YouTube success (i.e. the amount of subscribers and views they’ve racked up) but now you are saying subscriber numbers aren’t relevant?
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[Bill Davis] “Damn 25 year old makeup video pitch girl or video game player hauling in seven figures… What the heck could THEY know about the video industry?
; )”
My joke was about the cesspool known as YT’s comments section… with that being said I doubt Michelle Phan (who’s a makeup artist not just a pitch girl) or PewDiePie would have much to say about X vs MC or LumaForge vs ISIS in a large post production facility. Maybe they do both love to geek out over production technology (I don’t know), but as on camera talent it’s not something that has to be in their respective wheelhouses in order to be successful. If you want to name drop a successful YouTube celeb that can lead a conversation about production, post, crowd funding, creating original online content with slick production values, etc., you need to drop Freddie Wong’s name.
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Oddly enough I’m starting to work on a feature doc with a couple of people that have found a lot of success on YouTube (not PewDiePie level, but over 10 million subscribers and over 1 billion views) and when I asked why they wanted to make it a feature doc (as opposed to a web series) they basically said they’ve already been there/done that in the digital space. They want to go beyond YouTube and do something that could be seen as more prestigious/legitimate (my words, not theirs). It’s admirable and also risky because as a web series coming from them this would most be a slam dunk but going the feature route introduces a lot more uncertainty.
EDIT:
It seems like whenever I’m working w/’old media’ people they are trying to expand into new media and whenever I’m working with ‘new media’ people they are trying to expand into old media. I guess the grass is always greener… -
I think the hardest part for collaboration like this is what are the odds that both the editor and the colorist are using Resolve? I think the strides BM has made with Resolve over the last 2-3 versions have been great, but from an editing perspective there’s still not really a compelling reason to choose it over the 3 A’s. If Resolve does become a solid editing competitor then I think this ability to grade and edit in the same timeline will be attractive to deadline driven situations. For example, I used to grade a weekly news magazine show (cut in FCP 7, colored in Color) and I would always have to start grading on a work-in-progress cut and then do any annoying number of pickups down the line because that was the only way to get it done in time. Being able to grade the same timeline the editor was cutting in would certainly be preferable to sending XMLs back and forth.
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[David Mathis] “Someone on You Tube had this to say: “
Starting with that statement will never lead to anything worthwhile. 😉
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[Robin S. Kurz] “. Especially since they didn’t dare install either of the latter on the same machine, making it completely unfeasible to just maintain single machines that couldn’t be used for anything else. It’s been removed from the curriculum as well. YMMV.
“That seems excessively cautious. I’ve worked on many machines that have Avid installed side-by-side with other NLEs. Heck I have FCP Legend, X, PPro, Resolve. Avid and Lightworks installed on my MacPro and it hasn’t imploded yet. 😉