Dominic Deacon
Forum Replies Created
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[tony west] “I could see apple cutting a deal with hollywood to provide them with 5k content kind of like they cut a deal with the music industry for iTunes or at for their phones. Once they figure out a way to deliver i”
It’s not just a matter of figuring out how to deliver it. The content doesn’t exist to be delivered. Television is not made at 5k. Very few films- next to none in the grand scheme of things- have been scanned at 5k.
4k kind of makes sense as it’s close to the resolution of 35mm but why 5k? It’s just completely unnecessary. Even IMax does not consider that sort of resolution necessary and their screen is rather larger than 55 inches.
All that said, it does sound like the sort of thing Apple would do… But didn’t they just drop the 17 inch MacBook Pro because those 2 extra inches were too hard?
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1080 is high def and DVD is strictly standard def. And DVD doesn’t do AVCHD either. It’ll need to be converted once you’ve finished editing. 165 minutes is a lot to squeeze onto a DVD but it can be done if you don’t mind you’re image getting pretty compressed. Compressor or a similar program will have settings for best exporting whatever your file size is to DVD.
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Yeah I’ve had the same problem if I’m importing anything above standard definition. Seems it’s still pretty rocky.
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Lightworks is in a strange place at the moment. I love it’s interface. It’s alien but just feels custom built for cutting features. The problem is it is totally alien so it’s does take a lot of learning and who can committ the time to learning a program that you can’t yet use on serious work?
No doubt it’s up to serious work but you’d be silly to trust such work to a beta.
Once the full version is released- in a week or two I believe- I think this is going to be a very interesting alternative to anyone cutting narrative.
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I think someone below whose in the know said the changes in Smoke had something to do with FCP7. Which is strange given that FCP7 is dead. Ressurection?
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The magnetic timeline is essentially the same as editing in tracks locked, ripple mode in other editors. It’s not that revolutionary. The revolution is in taking away the ability to turn it off.
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And so FCP joins the other NLEs in the 21st century.
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It’s a fair moan though. A year before Apple dumped it Studio was the first piece of major software I’d ever been able to afford. I figured I was buying into at least a decade of upgrades. Boy did I feel robbed.
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Since the FCPX switch I’ve been using Edius pretty solidly. It has a bunch of great points.
Firstly in terms of real time playback it’s the fastest thing out there. Adobe always likes to make that claim for Premiere but in my experience Edius smokes it.
Seondly it accepts the broadest range of formats I’ve ever seen. I do a lot of short promotional pieces for bars where they give me footage on DVDs and all sorts of exotic formats. Just chuck them all on the same timeline without any transcoding and your good.
The colour correction tools are pretty extensive and excellent. I love being able to throw as many filters as I like on top of my footage and play it back immediately without rendering. The little split screen before and after tool is super handy as well.
I also really like the interface. FCPX people may like the magnetic timeline but to my way of thinking it doesn’t have too many advantages over using Edius in Ripple and Tracks Locked mode. All the footage dances around as you edit in much the same way. Of course with Edius you can turn that off.
The big problem for me is project bloat. I’m working on a feature with it right now and starting to wish I’d gone with AVID. The project file- which is admittedly very large- now takes five minutes to open and it’s slowing down a touch as I go. Still way faster than FCP7 ever was but I’ve gotten used to everything being instant.