Chris Kenny
Forum Replies Created
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[Cade Muhlig] “So monitor + calibrator + adapter looks like about $2200 total if I can get the monitor used.
Any cheaper solutions?”Not really. You could go with a standard desktop display and an HDLink, which you could load a LUT into, but if you’re looking for accurate color you’ll open up a huge can of worms trying to get it that way vs. just using the Dreamcolor’s integrated system.
Digital Workflow/Colorist, Nice Dissolve
You should follow me on Twitter here. Or read Is FCP X a professional app? on our blog. -
[Greg Andonian] “This revelation is actually a bit disturbing, when you think back to what would have happened at the Supermeet if Apple hadn’t shown up.
So to re-cap… Apple kicked out a bunch of companies who were set to talk about products related to professional editing, so they could showcase the big features of iMovie 11.
doubleyoo tee eff.”
Translated from TrollSpeak: Apple felt it was worth taking over the stage time at an event arranged by a Final Cut Pro User Group to announce the most significant update to Final Cut Pro since it originally shipped.
Digital Workflow/Colorist, Nice Dissolve
You should follow me on Twitter here. Or read Is FCP X a professional app? on our blog. -
[Cade Muhlig] “I see now that the dreamcolor has component inputs, therefore I could plug it directly into the Kona LHe.
Do I lose quality by going analog like that?
I could save $600”I’ve never tried on ours, but IIRC the Dreamcolor’s on-board color engine doesn’t work when using the analog inputs, so that’s a no go.
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[Cade Muhlig] “NEC PA271W-SV – $1500
HP Dreamcolor – $1400 (used)
AJA HDP2 SDI to DVI – $600”You’d probably want the Dreamcolor “Advanced Profiling Solution” as well ($350).
We’ve graded four features on the Dreamcolor, and subsequently screened a couple of them in high-end DI theaters — the color accuracy is remarkably good.
Digital Workflow/Colorist
You should follow me on Twitter here. Or read Is FCP X a professional app? on our blog. -
[David Jahns] “The biggest difference is that FCP was a ground up rewrite, and my hunch is that the version shipping in June will not have some things pros are used to in FCP 7, simply because they are focusing on the flashy stuff, not the nitty-gritty stuff like EDL & XML output, gang syncing 2 sequences, etc.”
Apple isn’t crazy. They started that event off bragging about feature films. They’re not going to go and ditch something as basic as XML exporting. Not when FCP XML importing was a significant new feature recently announced for three separate grading/conforming systems (Baselight, Resolve, Scratch).
EDLs could be… interesting, with all the new timeline features. But… what are you going to do? Never move timelines beyond where they were in 1992, because that’s where EDL is stuck? I am curious about how Apple will deal with this.
Digital Workflow/Colorist
You should follow me on Twitter here. Or read Is FCP X a professional app? on our blog. -
[David Ransley] “If you are as frustrated with this problem as I am, I encourage you to write to Apple using the “Provide Final Cut Pro Feedback” under the “Final Cut Pro” menu. My hope is that this problem can be buried forever.”
Autosaving and document versioning are standard OS-level features in Lion. Apps have to do a bit of work to support them, but I’d be surprised if FCP X didn’t.
Digital Workflow/Colorist
You should follow me on Twitter here. Or read Is FCP X a professional app? on our blog. -
[walter biscardi] “It amuses me when Apple stated something like “although FCP X may have an appearance like iMovie, all similarities end there.”
Except for the “new” features rolled out in FCP X that are already available in iMovie 11 as pointed out so well by Bret above. “
Apple has clearly been working on FCP X for a long time. Probably since wrapping up FCP 6 in mid-2007 (FCP 7 having been more a maintenance release). It frankly seems more plausible that iMovie was used as a low-risk testbed for FCP X interface innovations than that FCP X is literally a descendant of iMovie.
Digital Workflow/Colorist
You should follow me on Twitter here. Or read Is FCP X a professional app? on our blog. -
[Alex Geroulaitis] “I like the idea of OpenCL – it just appears that NVidia is further ahead in the performance curve:
“OpenCL based processing, while not as powerful as CUDA™ processing also used on DaVinci Resolve, does allow a much wider range of computers that can be used for color grading.””
One thing to keep in mind is that OpenCL was initially developed by Apple, and based on the timeline it actually seems fairly plausible that it was developed as part of laying the groundwork for Final Cut Pro X.
So it wouldn’t be a huge surprise if there were a difference between what Blackmagic can get out of OpenCL for Resolve, and what Apple can get out of it for FCP X. And it’s also kind of silly to advance the notion that we don’t know if Apple isn’t really using OpenCL for much, in the application it was very possibly developed for or even extracted from.
Digital Workflow/Colorist
You should follow me on Twitter here. Or read Is FCP X a professional app? on our blog. -
[Dennis Radeke] “I think this is where you’re going a bit far. You’re making assumptions based on no evidence. Apple showed us nothing at that demo to underscore that it had a sophisticated GPU actually working. They mentioned OpenCL once if memory serves (I was there) and did not mention any hardware acceleration of effects or playback via the GPU. I think it’s your wishful thinking, but the actual product may in fact be exactly what you describe.”
This is a new, ground-up rendering engine. Anyone writing such an engine today would make extensive use of GPU acceleration. People who are extremely skeptical about Apple’s efforts in this market can insist for the next couple of months that we can’t assume Apple has competently executed on this point because we have no proof, but it’s not especially reasonable to do so.
[Dennis Radeke] “Can you poke some holes in the above? Probably, but my point remains. A DI is more useful when you do not have a native workflow.”
More useful, sure. But it’s pretty useful regardless. We commonly send ProRes files out to transfer houses, for instance. It’s quicker for us to get to an external drive, it’s quicker (read: cheaper) for the transfer house to copy to the RAID on their output system, and it looks great. (We’ve screens projects mastered in ProRes 4444 in high-end DI theaters, and there’s just nothing to complain about.)
Digital Workflow/Colorist
You should follow me on Twitter here. Or read Is FCP X a professional app? on our blog. -
[Alex Geroulaitis] “Adobe’s GPU acceleration works in AE, AME and Pr – on fairly specific tasks that have been proven to be a significant productivity boost. Apple can’t say anything of the sort yet – so how about we don’t resort to rampant speculation?
I wouldn’t characterize it as “rampant speculation” to say that an entirely new rendering engine probably uses recent technologies in the places where it’s appropriate to use them.
Digital Workflow/Colorist
You should follow me on Twitter here. Or read First thoughts on Final Cut Pro X on our blog.