Erik Lindahl
Forum Replies Created
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What’s your current post-production format / codec?
Do note that JPEG 2000 often hold roughly ProRes / DNxHD bit rates. If you’re working with one of the later you’re hitting your material with quite the quality hit for possibly better future-proofing.
I’d be surprised if MOV and ProRes doesn’t hold far into the future considering it now being a record, edit and delivery format.
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A general question regarding using Image Discs. Has anyone had issues with file corruption? I mean if all media is “open” in a folder the odd chance of a corrupt file might ruin 1 out of 100 files. If you’re unlucky enough to have a corrupt disc-image the entire project could be un-repairable. Or is this so uncommon one doesn’t have to think about it or deal with it?
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In FCPX you can store your media outside of your bundle. This is even easier to deal with in 10.1.2 where if you select your library you can change the default location where FCPX stores that libraries media. This should help with working with other applications.
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RE:Flex can give you great results and can be used for morphing and image distortion. For me it’s a must have plug-in. Just yesterday I used it to fix a damaged frame in a shot using the adjusting frames before and after to create a new one.
The only thing I lack is the ability for AE to track motion paths (not the motion shape-solution they have now, it’s quite sub-par) or for a third party to send motion path data to AE reliably. The trick with RE:Flex is that each vertex-point has to have a corresponding point in the before and after image for the morphs to be calculated correctly.
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The viewers aren’t usually the best means of judging color accurately sadly.
A question:
How do you encode the final h.264?
How do you view your YouTube-clip?Encoders and decoders of h.264 will vary, so will the software having or not having support for Color Profiles.
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Adobe CC 2014 uses a new video output pipine called Mercury Transmit that, in theory at least, works in similar fashion as video output does from Premier Pro.
I think the scaling feature you’re talking about is something AE did internally before sending its image to the video output interface in previous version. Now the native image is sent thus the video hardware it self has to deal with any scaling or cropping required. I beilive the device you’re talking about can’t handle up or downscale.
I could be wrong but from the sounds of it this is what’s happening. I would also argue if the above is the case it would be lovely for Adobe to add a “scale and crop” feature back as video hardware tends to be fussy about legal comp sizes.
The up-side of the new model is supposedly better perfromance and a true 10-bit output pipeline.
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Is this a 10.9.3 issue or just a general issue? As in does it work in 10.9.2?
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Or using mocha for a rough mask and refine edge in AE for edge perfections where needed.
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For what the Mac Pro 2013 is you get a lot of bang for the buck I’d say. I would however suggest looking at the 6-core machine with dual D700’s and at least 16GB of RAM as a “base” 4K system if looking at realtime performance.
BMD recommends this but the 8-core system as a base. More RAM and fast I/O would also be a bonus of course given the internal drive is blazing fast (950 MB/s give or take).
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Export a QuickTime of your final edit, import to AME CC (Not AME CC 2014) and you’re off.
Deprecating old formats is the nature of things to come. Harsh but true.