[Erik Lindahl]

I can build a hackintosh as well and it *should* work…

[Erik Lindahl]

Odd they just mention the MacBook Pro. What about MacPro’s with VASTLY faster GPU’s? Or iMacs for that matter?

[Erik Lindahl]

According to our reseller here in Sweden we can by a Sonnet-chassi with their RAID-card and fill it with drives our selves following the matrix on their webpage.

https://www.sonnettech.com/support/harddrivematrix/index.html

Is this incorrect info?

[Erik Lindahl]

The only point CS6 hasn’t addressed is a common work format. I was hoping for something in the lines of Adobe licensing ProRes or similar but we weren’t that lucky.

Hopefully CS6 handles ProRes like FCP7 on similar hardware and we’re all good sorting that issue out. CS5.5 handles ProRes and video output like a joke.

All native – really nice feature – but you need a “post production format” also.

[Erik Lindahl]

If you could give us a brief summary in English here that would be terrific.

[Erik Lindahl]

Apple has deliberately avoided using the MacPro in their marketing for quite some time. It’s just odd when it comes to high end video work, especially when they mention high end solutions like DaVinci / Smoke / RED Rocket.

I so hope the MacPro isn’t dead… CS6 looks so lovely. Would hate to have to switch to Windows… 🙁

[Erik Lindahl]

The gear-list on Apples site doesn’t make sense.

iMac
MacBook Pro
OS X
Final Cut Pro X
Xsan
Intelligent Assistance Sync-N-Link X
Marquis Broadcast X2Pro Audio Convert
Blackmagic DaVinci Resolve
Avid Pro Tools
RED ROCKET card

They mention RED ROCKET, DaVinci as well as ProTools and they really think the company doing this high-end work wouldn’t be using a few MacPro’s? All those more or less require that machine.

Good to see FCPX is getting into the spotlight at Apples site.

[Erik Lindahl]

Perhaps also make sure timecode on your output-files from AE match the input.

[Erik Lindahl]

Adobe’s solution is to work with whatever you want.

Well I’m not quite sure about that as an 8-core MacPro barely can playback ProRes in Premier Pro CS 5.5 not to mention extremely flacky video output support (yes, FCPX is even worse but I’m not in that sinking ship yet! :)). A G5 almost handles this better in FCP7…

Reading and rendering ProRes is fine in PrPro from my experience but the actual preview in the canvas looks like garbage. I’ll try to post a screen later today.

But, with A/V foundation it’s possible to overcome the limitations of the .mov container? How does DaVinci solve this issue at the moment as it’s quite speedy at ready and writing for example ProRes? Is it stuck in 32-bit land still perhaps? Also, if .mov is a such a poor container format what should one use in a offline / online workflow in the CS-world when jumping between different applications?

In FCP-land, excluding X, it’s very straight forward – QuickTime all the way and it works good.

EDIT: Thanks for all the replies but he way.

[Erik Lindahl]

One can put blame on QuickTime being 32-bit but the fact is ProRes works really bad in Premier Pro and the fact also remains, Premier Pro lacks a proper editing codec. Is Adobes solution to work uncompressed all the time? What wrapper is recommended then as QT’s 32-bit architecture apparently is at fault when it comes to ProRes?

A common workflow is Editing (PrPro) > Effects (After Effects, Mocha, Photoshop, Nuke) > Grading (DaVinci) > finishing (PrPro). IMO Adobe has a golden opportunity of making PrPro the king of both small-form editing and finishing as they have a very competent FX-package in After Effects and PrPro seems capable of being a solid editor. A solid format for this is however required which they don’t have.

How does Apple solve the QuickTime 32-bit problem in FCPX? Why does a 32-bit application like FCP7 handle ProRes so much better than PrPro and actually FCPX? Why does the viewer and canvas look so horribly poor in CS5.5? (don’t give be the “should be viewed on reference monitor” cause that is true in some cases but that doesn’t mean the on-screen view looks like garbage). Talking about reference monitors… Why does CS5.5 handle this so much worse than FCP7 on the same system?

It’s sad Apple isn’t more “into” the pro-video area anymore. They really can create wonderful solutions when they put their mind to it. I hope CS6 solves a lot of these issues but I won’t hold my breath for too long. PrPro has had something like 10 years to catch up and given it has some awesome features in it, the above issues make it really hard to work with for a lot of people I think.