Erik Lindahl
Forum Replies Created
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The sad thing is it takes FCPX 60 seconds (give or take) before I have ANY control (the app is locked with a pop-up window). In 60 seconds I could have started to get working in FCP7 or with-in 60s I’ll have fully generated thumbs in PrPro CS6. Seems odd.
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This would explain a bit, but creating aliases of the files in the finder take 1-2 seconds, not 60. I just can’t se what FCPX is up to. It’s also extremely sluggish to scroll through the file list when it’s finally imported the clips.
I’m just doing linked imports, not copying or excessively analyzing the media.
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I can’t even select it in the preference pane. All i get is “A/V Output: None Found”.
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[Walter Soyka] “From Dynamic Link performance [link]: “A linked After Effects composition will not support Render Multiple Frames Simultaneously multiprocessing.” To oversimplify a little, you are rendering your key with only one core, leaving the other eleven in your workstation idle.
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Jeeze, that’s a pretty nasty limitation of Dynamic link… -
Can Premier Pro CS6 actually use a non-GUI-card for CUDA acceleration?
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The Warp Stabilizer was I think fully developed by Adobe where the optical flow time-remapping in AE is a licensed product. I would imagine Adobe could figure something self-owned out like that have with the new 3D-tracker. That said, they are still licensing Mocha as well for a good reason.
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I’d imagine pixel-motion / optical-flow isn’t available in Premier due to licence issues or costs. After Effects uses non-Adobe tech for it’s optical-flow retiming.
https://www.thefoundry.co.uk/products/kronos/
That said, FCPX is far far better than FCP7 at scaling and retiming. I have yet to compare it in detail to After Effects or Premier Pro but After Effects seems to produce much better scaling results than FCP7 in general.
Do note I base this on working with progressive footage. Interlaced footage might vary a lot.
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If they get it right it could be some interesting technology for sure. But, as we work we have 2 offline / online suites working with editing, grading and after effects comp work. I could imagine there are hundreds of shops like ours and I don’t really see how “Anywhere” fits in. If anything I see potentially more issues as I presume one is working on streamed media i.e. you add even another layer of latency out to your video-monitor.
I guess I’m just used to new things being an issue rather than “just working”. Last time I checked Premier for example isn’t even color managed which with the above makes me iffy to the concept of “streamed editing” where it’s not really required (i.e. off-site, low bandwidth situations).
That said, “Anywhere” would possibly open up the option of a shop like ours working over the internal gigabith network at say ProRes quality where the original files on the server are full 4:4:4 uncompressed DPX-files or similar. I.e. it could, potentially, but a great tech for a shop like ours also.
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Adobe Anywhere feels like a different ball-game than a few, local, editors sharing media no? It’s cool, possibly a game-changer in some areas but seems like compete overkill (and possible a worse solution) if you have X editors in a room you want to work with the same media.
Hopefully the Anywhere share-abilites are also transported into a non-anywhere setup.
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Is it just a file-viewing problem? I.e. do the exported elements look different if viewed on an externa monitor through Premier or After Effects?