[Elliot M. smith]

Yes, just saw there was a reply, thank you very much!

[Elliot M. smith]

Certainly, but the idea is to get better in front of your peers before you’re in with a paying client so you can build up your, I guess you’d say “Mental Artistic Toolbox” or something like that. To have an idea what Color Genius A would do, or what Color Enthusiast C thinks is cool, or to be influenced by Creative Novice D who’s idea might not fully work but inspires you to try something else.

I want to get good at the established looks and start coming up with new ones so I can give them what they want to get in the door, and then present them with something they didn’t know they wanted but can’t live without either concurrently or afterwards.

[Elliot M. smith]

Thanks for the feedback, Marc! When I say criticism I mean the constructive kind for sure. I don’t doubt that befores and afters or disclaimers on tough footage should be part of the process. I’ve been putting together demos where I pull shots out of the stringout I have because the sky is so blown out that a new sky needs to be composited in for the shot to remotely work, for example.

However I’m sure that it’s more often than not where you have to take what you’re given and do your best rather than being able to say that late in the game that you need another shot.

[Elliot M. smith]

Yes, I use that as part of my transcode process from BluRay to ProRes, it’s nice, but I’d like to go faster.

[Elliot M. smith]

Thanks both of you for the suggestions. I think I’ll try Adobe Media Encoder. I may try compressor, but I’m going to have to train a non-post person on how to do this and the learning curve on compressor may be too much. I’d love to set up a multi-CPU Qmaster deal, but which Mac Pros are available switches too often, so we gotta stick to one. Thanks for the great ideas.

If anyone has any hardware acceleration options for ProRes or h264 I’m still interested in that.