David Lawrence
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COW Coins
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Franz,
I think you’re one of the most well-considered, articulate and thought provoking voices in this forum. I’ve enjoyed your posts immensely and learned a lot from them. Thank you. I hope even if you don’t post as often in the future, you’ll continue to pop in every now and then and share your thoughts with us.
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David Lawrence
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[Ryan Holmes] “That doesn’t seem like a strong vote from Apple Management for the Mac Pro. But as Lance asks, there’s a good chance that for the vast majority of video, audio, and graphics professionals an iMac may be more than sufficient. The horsepower on the new iMac’s has me looking at them as a solution for some of my edit suites.”
Agreed. This article from Marco Arment adds further support to the idea that for many pros, the new iMac will be a better choice than a Mac Pro.
https://www.marco.org/2014/10/16/retina-imac-vs-mac-pro
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David Lawrence
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Update:
Good article about this on The Verge:
https://www.theverge.com/2014/10/16/6990629/why-is-apples-999-display-stuck-in-2011
“At such a scale, even the best existing technologies wouldn’t have made this iMac possible,” Apple says. To a degree that’s true, because even Thunderbolt 2 isn’t designed for that resolution, something that’s coming in a new version of DisplayPort technology announced last month.”
So it’s probably DisplayPort 1.3 that we’ll have to wait for across the line before we get a 5K cinema display. How long before this new standard gets adopted?
https://www.displayport.org/pr/vesa-releases-displayport-1-3-standard/
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David Lawrence
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[Jeremy Garchow] “This is just a guess, but I think that the entire Apple product line couldn’t push a 5k screen, so they don’t sell it.”
I think you’re exactly right.
They make note of the new TCON (timing controller) hardware in the new iMac:
Orchestrating the performance of 14.7 million pixels.
A more advanced timing controller.
The timing controller, or “TCON,” is the brains of the display — it tells each pixel what to do and when to do it. Because iMac with Retina 5K display has four times as many pixels as the standard 27-inch iMac display, the TCON had to be able to handle more information than ever. But even the most powerful timing controllers available couldn’t manage this number of pixels, so we had to create a new one with four times the bandwidth of the previous-generation 27-inch iMac — up to 40 Gbps. Now a single supercharged chip beautifully orchestrates the symphony of all 14.7 million pixels.
I don’t think you’ll see new cinema displays until this chip is in all machines across the board. Even though my top-of-the-line retina MacBook Pro can handle 4K, I’ll probably need to replace it to use this 5K screen. I have no idea how the Mac Pro would do.I was looking forward to a 4K Cinema Display to act as a USB3/Thunderbolt/ethernet hub for my laptop. Looks like I not only have to wait, but will likely need to get a whole new machine if I want an Apple solution. I’m disappointed too.
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David Lawrence
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[Charlie Austin] “You can work around it, but you shouldn’t have to. It’s a basic feature and it’s missing.”
Same with select/copy/overwrite paste in the primary. There’s no reason this simple function should be missing.
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David Lawrence
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[Walter Soyka] “I’m sure no one here cares that it has brilliant native stereoscopic support, but because it’s wavelet (not DCT-based), it can kind of self-proxy, saving cycles by decoding a lower-resolution version of the original frame.”
I’m currently posting a 3D-stereoscopic short and this is exactly what we’re using CineForm for. CineForm’s active metadata for stereo is an elegant and powerful way to work with 3D. In fact, CineForm active metadata is just great in general. I haven’t used it for grading yet but it does that too.
It’s not all rainbows and unicorns. The actual CineForm software is really buggy on the Mac. I can crash it just looking at it the wrong way. Converting our files from native .mts to CineForm FS1 was a huge challenge that involved hours of tech support and many hoops jumped. But once I had all the masters converted, it’s been nothing but smooth sailing. I don’t think this project would be possible on my system without it. I hope it continues to grow and gets more vendor support.
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David Lawrence
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[Chris Harlan] “And the Source Timeline–that’s probably my favorite Avid exclusive. In fact, yes, that’s the thing I miss when I’m using Pr.”
Have a tasty pancake! 😉
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David Lawrence
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[Richard Herd] “The design of X is meant to cull through massive amounts footage. The more footage a project has the better X is at doing what X does. “
[Aindreas Gallagher] “How has it been logging? if you’re not making monster timelines do you like the performance?”
There’s no question in my mind that X is a fast and efficient logging tool. Really the best I’ve ever used and excellent for larges amounts of footage.
Unfortunately, I still find the timeline unusable for my specific tasks. Not because I haven’t spent time learning it or don’t understand it. It simply doesn’t do basic things I need it to do. Not that you can’t get the exact same results in X, the problem is the needed workarounds make it much less efficient.
It’s all about the right tool for the job, right? I’m very happy with X for logging. For cutting I go elsewhere.
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David Lawrence
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[Walter Soyka] “In other news, GoPro’s CineForm is now SMPTE VC-5.”
Great news. CineForm is awesome.
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David Lawrence
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[Aindreas Gallagher] “there seem to be sustained habitual frailties in X that persists from release to release. PR and all aside – apple seem quite OK with it occasionally hobbling along – as it did with major plugins like bullet for a period of months.”
Given the surprising (to me at least) news that Apple’s in-house PR is only 30 people, how many people do you think Apple has working on specialty software that accounts for less than 1% of their yearly revenue? It’s no surprise fixes to X happen at the current pace. I’m actually impressed with their progress all things considered.
_______________________
David Lawrence
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