Erik Lindahl
Forum Replies Created
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When encoding an H264 with AME to the QuickTime container, for some reason AME will use QuickTime for the actuall encode which is bad.
If you’re required to deliver .MOV with high quality H264 you can use Episode or possibly Sorenson Squeeze as these have better encoders than Apples free / old one. This won’t require the use of any extensive bitrate. With x264 you in general have better quality than AME’s H264 codec.
Adobe really should fix so one can encode .MOV containers with the third party H264 codec (can’t remember their name now) though.
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FCPX has some amazing “finishing features” for sure. It also has some dreadful limitations in this area as well. PrPro with After Effects and now Speed Grade could be the king of finishing. I just don’t quite see Adobe driving it in that direction. I also think there is a lot of money in the thousands of editors out there vs the hundred finishing artists. I think Adobe could use this to their advantage in the higher-end finishing space. They are just not there yet with CS 7 / 2013 / Next-whatever they are going to call it.
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In regards to AE as a finishing tool – yes this is what I do as well. I was hoping Premier Pro went into a “finishing solution” my self. As I’ve said before I haven’t had that much work one with Dynamic Link, I think as it works now it might not be the tool for our workflow. This is also why I bang my head every release of AE and PrPro that hasn’t gotten an overhaul to their scopes.
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I couldn’t agree more.
I’ll have to give Premier Pro another run for its money I guess. Bad first introduction… What is irritating is how poor the built in effects seem to be. Color-correction seems vastly better in FCP 7/X than PrPro. Sometimes you just don’t want to jump out of the NLE to sort out simple CC-fixes. I’m also not 100% sure if the dynamic link structure does it for us. I’ll have to do some testing.
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GPU-wise there isn’t that much more right now.
– nVidia GTX680 is top of the line excluding Titan
– Radeon 7950 isn’t top of the line but “high end” and I’d be surpriced to see a 7970 coming any time soonAMD doesn’t have any new GPU’s coming for some time, nVidia is however rumored to release a 700-series soonish, possible summer release. If that means an OSX-card will come one can never know and these cards won’t be a major break-through.
760Ti ≈ current 680 where the 770 will be a slightly faster card.
780 will be a lower-cost Titan it seems, beating the current 680 by some margin and having more VRAM.Nothing really huge from what I understand however.
A 780 in tandem with a SandyBridge-E MacPro, that would perhaps be quite “earth moving” but that’s a few months away and we still don’t have a clue what Apple’s plan for the MacPro is.
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True that! According to some a test made by barefeats however the Radeon 7950 is the FCPX king.
https://www.barefeats.com/gpu7950c.html
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I thought ProRes 4444 was 12-bit video and 16-bit alpha.
Apple ProRes 4444 supports image sources up to 12 bits and preserves alpha sample depths up to 16 bits. All Apple ProRes 422 codecs support up to 10-bit image sourceThe above is from Apple.
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Seems to work fine for me. Want me to test something specific?
MacPro 2008, 8×2.8 GHz, 16 GB RAM, external ATTO-SAS RAID, Kona 3.
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I’d imagine color accuracy isn’t key for this kind of workflow now. For some that’s probably a tradeoff they’re willing to take.
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I do see the power of Adobe Anywhere even for smaller shops that might have an editor at the client or agency a day or two here or there. It’s an enormous freedom having access to everything via the net. I however also know the reality of internet availability. It can be shaky as hell at times and having to rely on that while editing could be quite a head-ache also.
I’d like to see it to believe it – in the real world that is. I also think the initial cost will scare a lot of people away as well. We’re not talking an off the shelf MacMini with a Pegasus raid or some random gigabit NAS as storeage. We’re talking dedicated hardware at quite a high level.