David Roth weiss
Forum Replies Created
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Was an awesome machine until the Z840 was released. Now it’s only semi-awesome… However, there are many versions, all with different processors – if you get the precise specs on the Xeons inside I can help you, as I sold many of them while working for a well-known reseller a couple of years back. BTW, if it only has a single Xeon, not dual Xeons, don’t even think about it.
Oh, and be prepared to buy a newer GPU for it, as you can get vastly more powerful cards today for a fraction of the price of what was available when that machine was new.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Noam Osband] “What can someone do in Resolve that they can’t in Color or FCP 7? Just curious. What would make that a better final product? “
I could write a book on the subject Noam… It’s completely different from the toolset in FCP, but not that different from Color, except that it’s vastly more modern, has a much larger toolset, much more advanced in it’s round-tripping and export capabilities, handles many more codecs, and has much more advanced color processing.
However, as I said before, since you said you need basic color correction at this point, NOT a complete grade, you’re spinning your wheels at this point worrying about this.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Shane Ross] “As for stills, very easy to prep a sequence to not include them (and titles) and then bring them back later.”
Well, that all depends… I have had many projects where I fought hard to get the producers to allow me to use Color, but the prep was such a bear they forced me to work right in FCP.
If the sequence has numerous transitions (fades, dissolves, wipes, etc) from moving video to stills, that can easily add an entire day to the back and front end of even a relatively short project – on a long-form project, forget about it.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Shane Ross] “Color correction and color grading are the same thing…”
Well, not exactly… Most would regard color correction as “primary” color work, while grading is considered “secondary” color work.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Noam,
Beware, Apple Color has innumerable issues importing such elements as stills, etc. It can make prepping a project for Color a real bear, and that can be expensive for you too.
Since you said you’re NOT looking for a grade, but rather color correction, that should be a breeze right in FCP7.
I’d like to suggest that you completely avoid going out to another app altogether until you are 100% picture locked, and then let a Resolve colorist do the job properly, with a complete CC and grade. Remember, many very hi-level companies did ALL their color right in FCP for ages before Color was released.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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FCP 8 & 9 does exist – it’s now called DaVinci Resolve 12.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Trash preferences.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Drop a clip on a new timeline and let Premiere match the clip.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Tero Ahlfors] “Pouring the water into a bigger container doesn’t turn it into wine. If you transcode your 8 bit 4:2:0 whatever to 32 bit 4:4:4 float it doesn’t gain any information that wasn’t there in the first place.”
I agree mostly Tero…
As I said, it doesn’t make the video look any better… However, it does give you additional color space to work in, meaning there will be less interpolation in the 4:2:2 color space of ProRes, and thus less color information lost (i.e. fewer discarded pixels) when processing.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Transcoding to another codec is analogous to pouring water from one container into another of different size.
If you pour a small glass of water into a larger one, you lose no water. Right? So, transcoding from MP4 to a ProRes keeps virtually all of the information that was in the MP4 container. Right?
Meanwhile, if you pour water from a large glass into a smaller one, you lose some water. Right? So, if you transcode from ProRes to MP4 (at a lower bitrate of course), some of the information won’t make it into the new container, and you’ll lose some information. Make sense?
So, transcoding to a better codec doesn’t make the original video look any better, but it does preserve the original information, and it does give you some of the added advantages the newer codec offers, such as an increase in color space when grading, and it can also hold up better as you go thru generations.
Does all this make sense to you now Bryce?
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.