David Cherniack
Forum Replies Created
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Hey Brandon,
I’ve been trying to understand this problem. I read through your description of it 3 or 4 times without comprehending what’s going on. Other’s may be having the same issue. Maybe it would help if you try and explain it in more detail? I get lost when you mention the program monitor.
David
AllinOneFilms.com -
[Hector berrebi] “can you trust a company with Steve Balmer as its CEO?”
I’m only sure that I can’t trust any company…long term.
[Hector berrebi] “and yet. it is just not an elegant system.”
I love elegance, but I prefer functionality. Besides, cutesy isn’t elegant for me – and I haven’t seen a completely elegant piece of software since Framework running on MSDOS.
David
AllinOneFilms.com -
[Craig Seeman] “I think Apple is setting up for a future power play. It doesn’t mean they’ll win it but that’s what I see when I connect the dots.”
You may well be right, but then again your dots are rather fuzzy 🙂
David
AllinOneFilms.com -
[Hector berrebi] “”
Hector, I must admit I’m rather perplexed at your negative take on Windows (I’m assuming we’re talking 7). Across a number of systems I find it rock solid, very tune-able, and working smoothly. To each his own, I guess.
David
AllinOneFilms.com -
[Craig Seeman] “Not if Apple has leverage. Apple’s a business. They probably don’t care who is aghast if they have leverage over decisions that might be made to their benefit.”
Craig, as this list clearly demonstrates, leverage is a rapiply fleeting quantity when you piss off people enough.
David
AllinOneFilms.com -
As I read the tea leaves I see a post industry aghast, furious, and fed up with Apple. That in itself may have many more far reaching consequences than whether Adobe or Avid have to dance to Apple’s AV Foundation tune. MacPros, if they continue to exist in a useful form, may not look so shiny with Apple-sheen when the company is sending a profound “We really don’t give a flying fillintheblanks” message to an entire industry.
Could be the next round of hardware upgrades for a lot of companies shows a lot of HP workstations being sold. Truth is they’re nicely designed, work well, you get on-site service, and no my-way-or-no-way attitude.
David
AllinOneFilms.com -
[Alessandro Cofanelli] “MISS: better quality motion scale in realtime playback on FCP
MISS: better integration of third-part editing cards (Aja, BMD,…). In FCP you have only to select to output video out to the card or not, in a normal sequence. In PPro you have to use a specific editing mode, you are unable to disable the output for a moment and so on.”
I can see how you’re missing all of the features you list except the two above.
Regarding “better quality motion scale in realtime playback” have you turned on scale to frame size? It’s in the context menu for each clip or as a general preference. Unless your system or graphics card is woefully inadequate that option makes move and scale playback butter smooth, even with 5k stills.
As for the 3rd party sequence settings for video out: I’ve never found that to be particularly inhibiting. The Mercury Playback Engine and all codecs work in my Matrox timelines. And why would you want to turn video out momentarily off?
David
AllinOneFilms.com -
[Sean Morton] “when you gang reference window to Program windows. Can scopes run in real time in the reference window??”
I’ve found that when monitoring the program on an external monitor via my Matrox MXO2 LE and changing the program monitor to waveform scope that it runs in real time. This is on a 8/16 core workstation. I haven’t tried ganging a reference monitor as a scope.
My main complaint with the Premiere scope is that it doesn’t show the super whites & blacks that can be in the SDI signal – Matrox driver checkbox.
David
AllinOneFilms.com -
Hey Hector,
I was responding to John’s comment about a capturing in Premiere. I duly recognize that there’s a lack of an Adobe intermediate and mastering codec and I hope that will be rectified soon. But for effects work I would still prefer to capture and render in 10 bit uncompressed. I’ve never been sorry that I have and if on those times it’s been overkill it’s because of poor decision making on my part.
David
AllinOneFilms.com -
[John Pale] “This is the same thinking that got apple in trouble with a lot of people. Tape still exists, and will for a long time to come. If you are working with tape (HDCAM, HDCAM SR, D5, etc) what codec can you capture with that is high quality but doesn’t require massive amounts of high speed storage? Do I have to factor in buying a codec like Cineform to the cost of switching?”
Hey John,
If you’re ingesting from HD tape the Matrox iFrame codecs are excellent, free, and will suffice for most uses. For effects bound source material, where greater than 8 bits is needed, the uncompressed 10 bit codecs will not degenerate any tape source, even HDcamSR, while capturing to both Prores and Dnx will. Premiere does all video processing at 32 bit float so only at that point will the quality of the intermediate codec come into play, not on ingesting from tape. And as effect’s work is not greatly storage intensive, I, for one, prefer uncompressed 10 bit to any compressed codec. If space is a concern then yes, the prores 4×4 would be a great choice.
David
AllinOneFilms.com