Dustin Bowser
Forum Replies Created
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I’m sure with all of the fancy coding that exists in this software to auto-stabilize and color and denoise and playback in realtime and whatever other fancy innovations, that a simple “fit to screen” button is within the realm of Apple’s coding expertise.
Arguing that it’s simply a new design scheme for laptops that requires that I buy a card just to play back the output that I’m already getting, just with clutter, is frankly ridiculous.
And a simple Google search will reveal to you that Apple’s implementation of their ‘Full Screen’ concept in Mountain Lion with Dual Monitors is not exactly being met with anything but confusion and frustration.
Do I want to show a client full screen playback? Yes. Do I want to actually be able to use the software during that same time? Yes. Seems pretty simple.
I actually am loving FCPX, so this isn’t a “why isn’t FCPX like this software” debate. Conversations like “it’s kinda your problem” are frankly ignorant and not helping the dialogue or development.
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Sure, but now we’re talking about the addition of expensive hardware that I didn’t need with software that is 7 or 8 years older.
I don’t need mathematically accurate color to look at for film distribution. That will happen when the footage is at the grading stage where all of that is set up. This is just editing, and I just need to see a “cinematic output” of what I’m working on without a bunch of ugly and distracting icons, text and UI elements just cluttering up what I’m looking at.
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Hmm. Seems like a step backwards. My clients have to watch the footage with a bunch of cluttery, ugly UI elements all around it, rather than the clean looking output I got before.
Hope that is soon to be fixed.
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I’ve also experienced this with Dynamically Linked After Effects comps.
Posted a comment about it here and didn’t really receive much of a response….
https://forums.creativecow.net/thread/3/928336#937837
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Yeah, I guess a little manual jiggering is required….
Hope they sort that out. Seems a bit janky.
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Yeah, it does ‘rebuild’ the clip, but all the timing of the clips in the actual timeline get messed up. The thing I’m trying to do is bring a timeline in that was edited in Avid, so it isn’t just a matter of relinking a clip to the right media in the bin, but the timing of where all the cuts occur in the sequence has to also remain accurate.
As it is now, when selecting the first clip of a spanned .R3D, each clip in the timeline just becomes the first frame of the .R3D, so I have a whole sequence full of shots of the slate.
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When choosing the first clip of a spanned R3D clip, it offsets the timing of the clip in my Avid AAF timeline that I’m trying to relink to, and makes it so each clip in the timeline just starts at the very beginning of the R3D. It totally disregards the actual timing of the In and Out points that should be present in the clip meta data.
That’s why I was trying to find another way to relink it, because I suspect that it’s the spanned clip that is causing some sort of timing issue.
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Any thoughts though, on the loss of quality issue when using Dynamic Link?
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It was just something I threw on there to test, obviously for that effect specifically I could’ve done it in Premiere, but what I’m trying to test out is the viability of using Premiere/After Effects as a finishing tool for use with clients. That is why this ‘softening’ that is happening when coming back to Premiere makes it not a workable solution, unless there is something that can be done about it.
The reason I’m investigating Premiere/After Effects instead of finishing just in After Effects (yes I’m aware of the Social Network video) is that I need a way to do clean up tasks and compositing, and then have a way to play it all in realtime in the context of an edit, which is something that After Effects on it’s own can’t do due to the nature of it’s RAM previewing…
I would be very excited if I could get this workflow sorted out, as I’m originally an After Effects compositor and feel like I can do things much faster and in half the steps than in a Flame which feels a bit clunky and old-school compared to the way I’m used to working. Unfortunately, I wouldn’t be able to use a setup like this though unless it was Fast and Stable so that there aren’t any hiccups during a client session.
If you have any suggestions about hardware, or trouble shooting ideas, I’m all ears because I’d be ecstatic if I could work this way instead.
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I also just did a test where I took a clip in my Premiere CS6 timeline, sent it to AE via dynamic link and did a warp stabilize. I then rendered that out of Premiere, and straight out of After Effects using the same codec settings, and the one out of Premiere is noticeably softer.
I brought both clips back into After Effects so I could stack them together on the same frame and toggle back and forth between the two and they aren’t the same at all.
I do Flame work at a shop and was hoping that potentially CS6 would be another Online/Finishing solution for us, but unfortunately that isn’t possible with issues like this.