[Erik Lindahl]

I’d add to this with better proxy / media handling. Go all in and let us for example define versions of a given shot / peice of media. I can see me having:

1. RAW footage
2. Optimized footage
3. Potential proxy footage
4. Graded footage
5. Post FX Shot footage

One could also add to the above for example specific versioning / language footage in the above as well. All of the above one would also want the option of being stored on different media locations.

[Erik Lindahl]

Yes please, given it won’t happen.

I don’t see why “tracks” and the magnetic time-line can’t just co-exist. But it’s been discussed before to have “role lanes” in conjunction with the magnetic timeline.

[Erik Lindahl]

What I meant was that Apple has re-written FCP from the ground up. I’d imagine for a lot of people a sound plug-in architecture would be in the “what to fix” when doing an entirely new program as they have. FCPX has a new rendering pipeline developers should have access to but they don’t. One would think custom panels is a given “obvious” when dealing with a new architecture but it seems like developes at the moment resort to quite odd hacks to make it work. Also one would imagine a very fast rendering pipe-line with low overhead. This however isn’t the case really.

Seeing Apple has also made advances on feature like analyzing of audio and video on import there should be very deep “hooks” for developers to use these and further enhance them. Especially since Apples way seems to rely so much on third party now.

[Erik Lindahl]

This will have to be tested with the coming FCPX.

[Erik Lindahl]

The plug-in architecture really sounds like Apple should over-haul. Somewhat odd it is the way it is with an entirely new engine backing everything.

[Erik Lindahl]

So that means plug-in? Or something he’ll introduce in the next FCPX version?

[Erik Lindahl]

The October release of CC will have a major performance boost to the Warp Stabilizer. I think we’re talking X-times fast (if it was “8 times faster on many systems). It could be this boost for now is only coming to After Effects however. I’d still say its best practice to do stabilizing in a separate project since all the analyzed data can make project saving / opening a very long process.

I’ve used extensive Warp Stabilizing in AE where I tend to add the effect to multiple clips in multiple comps and there by maximizing my performance. It sounds like this might not be needed in the new release (Oct 15th I believe).

[Erik Lindahl]

I guess ProRes 4444 is your best bet given it’s not “Adobe Native” and I guess you’d be required to use a Mac for an efficient workflow. That said, ProRes 4444 is only 12-bit. But the CC Oct 2013 release will feature better, 64-bit native ProRes i/o (again on OSX).

But yes, this is an Achilles heel for Adobe. They claim they don’t want to introduce yet another codec between ProRes, DnXHD, DPX, EXR and what not. I understand that but if that’s the case they need to license a solid codec from someone else – be that ProRes, Cineform or similar.

[Erik Lindahl]

Does Cineform work well in post now a days? Heard it caused all sorts of head-aches before.

[Erik Lindahl]

Agree. We’re still on a 2008 MacPro waiting eagerly for an update.