Ben Rojas
Forum Replies Created
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I’m amazed the MP4 files are working at all. Normally anything heavily compressed, like Mp4’s, should be transcoded to ProRes, Uncompressed or something less taxing on the system. You’re scratching your head right now… “but Premier has no issues with… “, correct, but it’s also not legacy software ;o) At this point, what you can do to not wait the 18 hours, export the timeline at whatever format your sequence is at… Once you’ve got that file, create your deliverable in Media Encoder. I don’t use Compressor anymore as I find Media Encoder to be better and faster. Good luck.
Ben Rojas
Editor | Producer
305.301.2771
310.853.3351
reddproductions.com
benrojas.com -
Hi Chris. Did you ever have luck figuring out what was freezing you up? Not only is my sys freezing for no apparent reason, but get the Quadro to work again is a task. Usually have to kill all power to the computer and restart a couple of times. As you well know, this all really sux. I’m trying your APC trick shortly, but I’ve not seen any pegging. I’ve been putting off up’n to Lion because of FCP7, but I’ll try anything at this point.
Ben Rojas
Film Editor
310.853.3351
benrojas.com -
W/the Senior title comes other responsibilities, so be ready for whatever else they throw your way… And it certainly would warrant a better than usual salary adjustment. In the end, no matter what advancements, you’ll likely have to move on again to jump to the next level in your career. It sux man, been that way my whole career. This last go-round I finally made the move to go at myself… Not so much for the money, but time. Money comes and goes but time we never get back.
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I agree w/Walter, go for 5%. Getting an employer to part w/cash only happens when forced… For example, upping or matching a competitor so they don’t lose you. If you’ve got that kind of situation going, more power to you as you have the upper hand. The unfortunate reality, however, is that as much as you like where you work, you’ll have to move on at some point to grow your career.
Best of luck.
Ben Rojas
Film Editor
310.853.3351
benrojas.com -
Ok, Oliver has jolted my memory. Yep, Aja & BMD for sure. I think Apple lost a prime opportunity to face its critics, skeptics and spurned user base! They could have come to NAB in full force and proven to all that they learned a valuable lesson and committed to the pro market. Hell, while at it, they could have handed out iPads like mints and all would have been forgiven ;0) Kidding aside, Adobe & Autodesk hammered Apple… And Avid as well !
Ben Rojas
Editor|Artist|Dir. of Post Production
KSC KREATE
3850 N 28th Ter. Ste. 101
Hollywood, FL. 33020
P. 954.326.7600
F. 954.326.7766
C. 305.301.2771
E. ben.rojas@ksckreate.com
http://www.ksckreate.com -
I too only saw FCPX once. It was looping video at the Intel booth as they showed off Thunderbolt speeds. As for Mac Pros, several but tucked away under tables, back rooms, etc. Certainly not like other years where they were prominently displayed. Thunderbolts and iMacs, everywhere! Interesting and likely telling of things to come friends.
Ben Rojas
Editor|Artist|Dir. of Post Production
KSC KREATE
3850 N 28th Ter. Ste. 101
Hollywood, FL. 33020
P. 954.326.7600
F. 954.326.7766
C. 305.301.2771
E. ben.rojas@ksckreate.com
http://www.ksckreate.com -
I spent many years on a Symphony and having RT CC was a blessing. It’s still a strong product today but limited. CC needs in 2012 have significantly change… Working RAW is just one of those needed options. The answer could be as easy as having Symphony & Resolve and bouncing over when needed… Hell, that’s pretty much what we’ve all been doing w/FCP & Color and will have to be done w/Adobe PP & Speedgrade. The sys you don’t have to do that in is Smoke, which I have been on for 12 years. The issue w/Smoke is the editing side of things has always been cumbersome… That however may change next week! So the short answer to the thread question may be as simple as Avid Symphony, Final Cut Pro X, Adobe CS6 not in the same league as Autodesk Smoke ;o) Well, price will have a say in it too! These are definetely interesting times friends!
Ben Rojas
Editor|Artist|Dir. of Post Production
KSC KREATE
3850 N 28th Ter. Ste. 101
Hollywood, FL. 33020
P. 954.326.7600
F. 954.326.7766
C. 305.301.2771
E. ben.rojas@ksckreate.com
http://www.ksckreate.com -
well, all my connections are under non-disclosures, but I’ve pieced together some things that I’ll add to the discussion. I’ve been on Smoke for 12 yrs. with a 2yr hiatus on Avid DS. Smoke is truly an amazing Finishing/Compositing sys. My only complaint, it’s always been cumbersome and not very conducive to “rapid fire” creative editorial type editing. It’s gotten better through the years; especially audio, but it’s never felt right. Not so much the physical cutting, you get used to anything, but media management, bin layout, etc… Everything we’re accustomed to in Avid and FCP. I agree w/those w/respect to Edit/Combustion getting killed off because the big bros were taking a hit. I’m sure I wasn’t the only Editor/Smoke Artist heading home at night, popping open a laptop and cutting w/Avid Express and Composting w/Combustion. That was truly a WTF moment for me. But I digress, so what in my talks have I pieced together and why. First the why. Our facility, like many out there, is transitioning to another NLE. Our 2 choices, Avid or Adobe. Avid, tried and true. It’s like getting back together w/an old girlfriend ;o) Adobe, especially if they hit us w/Speedgrade, is looking damn good. But in the end, we’re still finishing in Smoke. I’ve brought it up time and time again w/resellers, reps and others in the know and just last week I was wink winked that my wish is coming true. Well, that wish was/is a FCP/Avid style UI w/a powerful timeline compositor, which we have now, but the continued options to pop into the DVE, oooops, I mean Action, CC, Keyer, etc. My other hope, and not a wish because the drop to 15K was a wish come true a few years ago, a reduction in price to actually have more than one in the shop. That being said, I’m still in the dark w/oh so many questions and chomping at the bit to see this “game changer”. No ones calling it that, but considering how many folks are in the same position as us, if the price is right, Avid & Adobe might be left wondering what just happen here.
Cheers mates, great discussion.
BenBen Rojas
Editor|Artist|Dir. of Post Production
KSC KREATE
3850 N 28th Ter. Ste. 101
Hollywood, FL. 33020
P. 954.326.7600
F. 954.326.7766
C. 305.301.2771
E. ben.rojas@ksckreate.com
http://www.ksckreate.com -
Just DL’d the trial version of MC 5.5 last week and running it on the same sys w/FCP7. No probs Bert. Been a long time my old friend, hope all is well and life is good! Cheers, Ben.
Ben Rojas
Editor|Artist|Dir. of Post Production
KSC KREATE
3850 N 28th Ter. Ste. 101
Hollywood, FL. 33020
P. 954.326.7600
F. 954.326.7766
C. 305.301.2771
E. ben.rojas@ksckreate.com
http://www.ksckreate.com -
Basically, folks still have Davinci 2K’s around and want to make use of them. These were million dollar investments that in many cases became outdated before they could make an ROI on them. Now, the Clipster/Davinci combo is very powerful, but the only downfall is that you are not working w/RAW files. The short answer, no, DPX’s are not RAW files. The long answer, while not RAW, a DPX is a very high-res file that maybe all you need to use for your project. My question to you, how hard do you need to push your colors? Your whites & blacks, are they clipped? If so, w/RAW those values may still be there and you maybe able to work the exposure to salvage a shot. Once your footage is processed to create a DPX, Cineon, TIFF and especially QT, you’re limited on what you can recover from the whites and shadows. Michael, if your film was shot well and you don’t have extreme lighting going on, you should be OK. What’s your final deliverable? You going for a film festival?
Ben Rojas
Editor|Artist|Dir. of Post Production
KSC KREATE
3850 N 28th Ter. Ste. 101
Hollywood, FL. 33020
P. 954.326.7600
F. 954.326.7766
C. 305.301.2771
E. ben.rojas@ksckreate.com
http://www.ksckreate.com