[Gary Huff]

[Mark Dobson] “I had a look at the links and, drawing on advanced Schoolboy french, can see that as you have assumed this prediction is based on the same Tim Cook email.”

Not sure what you’re saying here. It’s about as bad as the translation from the link:

“However, we believe that the judgment of the Mac Pro is temporary, we Apple informed that a new Mac Pro will be released in spring 2013.”

BTW, where’s that Apple television set that everyone was sure was coming out in Q4 last year?

[Gary Huff]

[Marcus Moore] “WWDC certainly seems like a logical launch platform.”

Which isn’t exactly “this spring”. I would assume the are basing this off the same Tim Cook email as everyone else.

[Gary Huff]

[Michael Phillips] “My issue with most of these type of iPad devices is that the primary purpose of a hardware controller interface is to allow control over parameters without having to look at it – it is done by feel with your eyes and ears never leaving the program.”

Ditto. I find myself a decent iPad typist, but every now and then I royally mess up what I’m trying to type, and I’m looking towards the keyboard all the time.

I can’t imagine the kinds of trouble I could get into with this thing on an edit. Yet another attempt at interface innovation that seems like it hasn’t been completely vetted.

[Gary Huff]

[Craig Seeman] “I’m curious why. As it is I have an external Blu-ray burner and I move it to whatever computer needs it at the moment.”

Because I have three drives in my workstation now and can burn three copies at once.

[Gary Huff]

[Craig Seeman] “Not meant to be that graphically accurate but just a general idea.”

I’m torn about the lack of bays for optical disk drives in your mockup. On the one hand, I rarely use them, on the other hand I just made 15 DVD discs for a client who has a documentary trying to get distribution, so I’d hate to have to go through all those on external devices.

[Gary Huff]

[Steve Connor] “That’s an understatement, ours chew through SSDs terrifyingly quickly.”

I had to use After Effects to get out ProRes 2.5K 4444 masters for the editor to work on (the BMCC was borrowed so I don’t have the USB key for full Resolve) and it took over a day to render out on a 2011 MacBook Pro 17″ with 16GB on a G-RAID Mini.

I know Resolve is faster at that but…damn.

[Gary Huff]

[Andrew Kimery] “”Something really great…” might be a tower with revamped internals or it might be Apple’s take on what they think pro customers need (or more importantly don’t need).”

It’s MacBook Pro Retina 2.0!

[Gary Huff]

[Herb Sevush] “ot bad for $3K. While I’m rather tired of these camera tests cut to overly dramatic music, the colors and dynamic range are a great argument for shooting RAW.”

Yeah, I loved the idea of shooting Raw (it’s not an acronym), but the practicality of shooting with the BMCC in CinemaDNG is stretching it (note: I still have my pre-order for the m4/3 version).

I shot with the EF version a few weeks ago. It’s a long wonky in the controls (there was no aperture display at the time I was using it, but the firmware’s finally out that fixes it), and apparently it makes an audible tone in the recorded .WAV file every time you change the volume level. Everyone remarked how funky the form factor was, but by the end of the shoot, they were complementing it. It’s really built for building a rig out of, not for running in and of itself.

Now, the downside. CinemaDNG is HUGE. It’s not just Raw, its uncompressed Raw. It’s not like Redcode at all. 30 minutes of footage took up 520-something gigabytes of storage. Then you have to process it to get editable, which takes render time out of Resolve as well.

I love the idea of it, and Raw is very powerful, but it’s seriously a storage glut and processing hog.

[Gary Huff]

[Chris Harlan] “When I’m in FCP, I try to make Media Managed versions of key timelines in large projects at pivotal moments on different drives because of the number of times I’ve been burned. “

Yeah, if you have a drive go out that you’re currently working off of, doesn’t matter how “robust” the project files are.

Been there, would like to avoid repeating that experience!

[Gary Huff]

[Erik Lindahl] “All the media works in FCP7 – given I transcoded everything “properly” and converted all the image-files “properly” hence “bad media” was removed from the equation. I haven’t dared do any bigger projects in PrPro CS6 since.
“

You still haven’t defined what you mean by “works”…if you have H.264 with bad, pixelated frames in it, then transcode to ProRes, then you subsequently have a ProRes file with bad, pixelated frames.

What do you mean by “bad media”?