Chris Kenny
Forum Replies Created
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[Richard Herd] “Here’s a quote:
The New
Mexico Supreme Court thus determined that the
First Amendment right to be free from compelled
speech does not protect those professionals from
applications of the public-accommodations statute
that would require them to create expression
“This is basically just saying that the same way a restaurant open to the general public can’t refuse to serve gay people (or whatever other protected group) as a class, a wedding photographer who offers her services to the general public can’t refuse to provide her services to gay people as a class. The basic principle here has been settled law for decades (although gays in particular weren’t recognized as a protected class until more recently). This decision simply clarifies that no loophole exists for business that happen to sell products that have some ‘expressive’ element to them. A business can’t, in other words, hang a “Whites Only” sign just because it happens to sell photography services rather than hamburgers.
Businesses are, of course, free to turn away individual customers for essentially any reason other than them being a member of a protected class. Including other reasons stemming from the politics, religious convictions, or even entirely irrational whims of their proprietors. Don’t want to cut a video for an oil company? Want to create a web-based campaign donation platform and not let a particular political party use it? Just think someone is a jerk? Customer is wearing a hat with the logo of a sports team you hate? Those are all entirely legal reasons to refuse customers.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Pam Picard] “Curious what others might be hearing in the marketplace.”
As a post house providing dailies/color/deliverables, we get to see what a lot of different projects — mostly indie features — are using.
It’s still almost all Avid and FCP 7. We’ve seen a couple of short-form projects use Premiere, but no features, nobody even really asking us about it. No features cut in FCP X yet either, although I believe we might have one on the calendar, and people ask us about it every now and then.
For projects edited internally FCP X is now our app of choice. Media Composer and FCP 7 feel archaic. Premiere feels clunky, and the CC licensing model makes it pricey enough that we don’t have it on most systems. We’ve also started using FCP X for prepping deliverables (combining rendered reels out of Resolve with audio to output master files to lay back to tape, etc.). It has some features that make it great for this (e.g. audio roles), it’s fast, and I can just set up one output after the next and hit export thanks to its background exporting.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[James Ewart] “The game is up surely with Adobe Anywhere?”
When you start examining the technical realities of actually using Anywhere, its applicability looks pretty limited at the moment.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Herb Sevush] “Yes, I was very impressed that this test was conducted with the 6 Core twin 500D GPU model. Would love to know what kind of difference the 700s would have with the Red footage.”
Not much right now. Red doesn’t support GPU-accellerated decoding in their SDK yet, so it’s not available to third-party apps like Resolve. It’s pretty awkward to work with 5K Epic material (let alone 6K Dragon footage) in Resolve right now without a Rocket — you’ll drop below real-time at anything more than quarter res, even with a 12c/D700 machine.
4K raw F55 footage, on the other hand, plays back like butter on a 12c/D700 system, with a full-res high-quality decode, which is a nice illustration of what’s possible. It’s kind of nuts that these sort of workflow problems continue to plague Red after all these years.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Oliver Peters] “I don’t know if it supports mic-in audio from a headset that has a mic or not”
I just plugged my iPhone headset into mine. Works fine.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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Heh.
The hierarchy should probably be named something like Library -> Collection -> Sequence instead of Library -> Event -> Project.
I don’t think using the term ‘project’ for either sequences, events or libraries really makes sense. There is no organizational unit in FCP X that neatly matches what is colloquially meant by ‘project’ (all the elements associated with one particular job) because its database structure allows for more flexibility than that. A library isn’t a project because it can contain elements from multiple jobs, an event isn’t a project because a single job can use elements from multiple events, and a ‘project’ isn’t a project because most jobs will involve the creation of more than once sequence.
I understand why Apple didn’t want to rename ‘projects’ and ‘events’ from 10.0.x to 10.1, but it really would have made more sense if they had.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Don Scioli] “For posting HD video mostly, is there really that much difference between Thunder 1 and 2 in terms of performance. For example, would the OWC Elite pro drive with TBolt adapter be fast enough to utilize the TBolt 2 spec to an advantage?
Or should I just wait for more TBolt 2 drives to become available, since I probably won’t receive the Mac Pro until February.”
A Mercury Elite Pro, or pretty much any non-SSD single drive 7200 RPM storage, will top out at 130-160 MB/s. First-generation Thunderbolt should be good up into the 700-800 MB/s range, which means speed will be limited by drives, not by Thunderbolt. This remains true until you get up into 6+ drive RAID systems. First-generation Thunderbolt speeds (with storage that can keep up) are fine for around three streams of uncompressed 1080p24 HD, 16+ streams of 1080p24 ProRes 4444 and 25+ streams of ProRes 422 HQ.
Basically, you’re not going to see big benefits with Thunderbolt 2 unless you’re working with uncompressed 4K formats or a lot of simultaneous HD streams, and have a pretty serious storage system.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Timo Teravainen] “And I recommend dividing it to more than 2 projects/reels before rendering. just had to divide a 1,5h film into 5 reels before could render it without errors, RED and DPX FX shots etc..
This was with V9, don’t know if it’s better with V10.”
We used to routinely use one project per reel, but V10 is handling 4-6 reel features fine in a single project. Save times are a little slower, of course, but still not too bad. How well this works will obviously depend on how many clips are in the media pool, how many shots are in the sequences, what hardware you’re using, etc. The projects we’ve tested this with have been very ‘neat’ — media pool containing only precisely trimmed versions of clips in the sequences, etc.
We adopted the ‘one reel per project’ approach way back on V7 and I didn’t really systematically test putting all reels in a single project on V9, though, so I’m not sure when exactly this started being practical.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Marc Wielage] “Dwayne is (as always) right, but I don’t like the internal scopes because they’re sluggish, and I also think they eat up a little more system resources. I think you’re much better off getting external scopes like Blackmagic’s own UltraScopes, running a second (small, cheap) computer, and put it on a second monitor off to the side.”
ScopeBox is also worth taking a look at. (Although a second computer is still required; the ScopeLink mode doesn’t work with Resolve.)
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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I went with a 12-core/D700 configuration. But the D700 is motivated by Resolve, and the 12-core is motivated by DCP encoding. I think if I mostly just ran FCP X I’d have gone for the stock 6-core model. Maybe the D700 upgrade anyway just because that $600 price is so attractive.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.