Dan Riley
Forum Replies Created
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Thanks for posting that. I’ll try their demo.
I’m also interested in trying Shake, although there isn’t a demo for it.Dan
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Does Shake have real time preview of chroma keys?
If not, what makes Shake better than Ultimatte or Boris?
And does it render faster then the above?
Could you be a bit more specific than “Shake pulls the best keys”?
You’ve compared it to what?
Timed the renders against what?Dan
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When you use Boris Continuum, you don’t use just one filter. I use the chroma key,
the matte cleanup, the alpha process (and Apple’s gaussian blur at .01 if needed)
all on the same clip and track. That’s what gives me a key that’s as good as or pretty much as good as Ultimatte. But rendering takes awhile. I put the background on VI and the key clip
on V2. If you are using DV footage, I add the 411 filter from Nattress to the filter mix first.Dan
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I might be wrong about this but I believe Ciprico is only a fiber channel solution.
And that usually only makes sense if you are accessing media from a server
to multiple workstations. Maybe Walter’s operation is moving to that model.I spend some time a CalDigit and I liked what I heard and saw. But of course,
I haven’t lived with one of their units so I can’t speak to that issue. -
Like you, I sometimes compare my AVID experiences to FCP.
But the thing I keep coming back to is that Apple isn’t after “the AVID folks”.
They are going over their heads with apps and hardware that works for
more people more of the time. Today in the Apple presentation they listed
in 2005 FCP had 250,000 registered users. Today it’s over 800,000.
AVID numbers are not growing nearly that fast on the editing side.
AVID is selling systems to broadcasters for news playback and other things,
but the editor and program creators, using laptops, making stuff you see
everyday, those are the people Apple is going after.I don’t disagree with you at all that there are some features I REALLY WISH
FCP would add especially in capture and edit to tape, but it keeps getting better and better, and at a price point AVID doesn’t seem to want to match. And it’s scalable,
much better than AVID’s offerings.Dan
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The data rates are similar to DVCPRO HD, so 800 firewire RAIDS
are probably fine. But with any video editing, and this isn’t just for FCP,
the faster the hard drive array, the more levels of real time video
you can see without rendering. But once rendered, it looks like from
what I see so far, you could output the new ProRes to tape from either
one or more 800 firewire drives. Tomorrow down on the floor, we will all
learn the real skinny. Regardless for me, I’m going with eSATA RAIDs.
Fast, easy to set up and cheap, relatively.And speaking of drives, if you were to purchase that new iO-HD
and hook it up to the 800 firewire port of a Macbook Pro, I seriously
doubt you could also hook up 800 firewire drives with your video files to the same bus
and it work ok. You will need to get an express card to Firewire or eSATA adapter
and hook up your drives that way.Dan
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The difference between Apple doing this and AVID doing it is, and I may be off base here,
but when you called AVID, the whole system was their baby. They couldn’t say,
well, it’s not our drives or it’s not our monitor or it’s our computer or our
digitizing hardware, it must be your fault. With Apple, they are going to constantly say that.
FCS will be only one part of a larger picture to your system.
And if they charge you what AVID charges, it will be a stretch for me to pay that.Now if forums like this one did not exist like in the 90s, then yes for certain I would pay it.
But today, I don’t know. How do you think the interaction would work exactly?
Do you think Apple would talk you through AJA setup controls and Sony monitor settings
and Panasonic camera ingest problems? If they would do all that, then we really are
talking value.Dan
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[nelsonmay10] “I bought DV matte blast and it is pretty good, but I would rather have a nice keyer in FCP. I saw the new adobe premier has a decent one. If I could key in FCP, that would save me a lot of headache in roundtripping.”
I’ll poke around at Apple first to see if anything points to real time previews.
I use Boris Continuum for my chroma keys at the moment. I like the look but the render times are quite long… ok, extremely long. I’ll go by Boris and see what they have
up their sleeve as well, as far as FCP and them making either real time preview
or greatly speeding up rendering of their chroma key filter combos.
I use three of their filters together to make great looking keys.
I’d tell you what they were but I don’t have Boris loaded into FCP on my
Macbook Pro here in my hotel room.Dan
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[JeremyG] “LTC in and out. Hopefully that means FCP can run in non controllable device mode, and be able to capture from a source (like a camera) without RS-422 or a deck. That would be way sweet and extremely useful. A truly portable capture station with ProRes. I could have used that over the past two days!
Jeremy”That will be the first thing I ask them tomorrow at their booth,
assuming I can find someone available to ask.
This is really needed for those of us that do multicam work and want
Hard Disk recording with simultaneous timecode in the field.Dan
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If it’s just a clip that will work but if it’s a sequence with cuts, you don’t do it that way.
Make a new sequence.
Drag your old sequence into the new sequence.
From the effects window, drag the timecode reader on to the new sequence.
Now you will see a continuous timecode of your sequence.If you want to change the size or position of the timecode,
drag v1 into the viewer and then select filters.
When you are ready to export, you need to render the entire sequence first.
Go to sequence, render all.If your composer can view Quicktime 7, export an h.264 file using Quicktime conversion.
Do medium quality and make the size 320 by 240. Composers don’t need
large sizes to do their work generally. But ask him what he wants.Dan