[Gary Huff]

[Bill Davis] “But those detractors”

Who are “those”? Oh, yes…the infamous “they”.

[Gary Huff]

[Mathieu Ghekiere] “I’m guessing this?
“

Ha! Typical.

[Gary Huff]

[Bill Davis] ”
Just like Premiere Pro editors are stuck in THEIR ways – seeking workflows as much like what they’ve been accustomed to for the past 30 years as possible cuz, you know, change is hard.”

Not that hard. Once you actually get over it and look past the glitz, the workflow isn’t really that different, as far as the actual edit is concerned at least.

[Gary Huff]

[Shane Ross] “I was at the screening and panel that Adobe had on Saturday.

https://lfhd.net/2016/02/15/premiere-pro-weapon-of-choice-for-deadpool/“

Oh my god, I want one of those coffee mugs.

[Gary Huff]

[Noah Kadner] “So again it’s a question of how much time you have at crunch time, the complexity of the timelines and the source codecs. Proxies can take forever to create as well from long H.264 takes etc and laptops generally have the worst price to performance ratio. You really need to spend more to get decent performance. “

Absolutely right. I can edit 4K well enough on my MacBook Pro 15″ from 2013 (which I purchased with all the specs maxed), but I’ve had some quick turnaround projects in which I had to wait an inordinately long amount of time in order to render out. I’ll be upgrading to the Skylake refresh whenever that’s available, and hopefully a desktop variety at some point to help with those render times.

It’s not bad until you start adding effects, but I’m almost always adding effects and using plugins.

[Gary Huff]

[Robin S. Kurz] “He states in very clear detail what he did.”

Okay, so what exactly is he exporting from the timeline to? ProRes 4K, right?

[Gary Huff]

Not that it isn’t impressive (it is even so), but was he exporting to ProRes or H.264? Because if he’s exporting to ProRes, I really doubt he’s uploading 4K ProRes to YouTube, and the H.264 encode out of FCPX should take longer than the times that video showed.

[Gary Huff]

[Craig Seeman] “Yet I find most of the free tutorials piecemeal. Great for learning a specific function but not so much if you want to learn end to end functionality in an ecosystem.”

This is exactly why I don’t care for much “produced” training. Too much prattle, not enough info. When I need to look up a “how-to” video, I need straight to the explicit steps. I don’t want an introduction about how we all got here.

[Gary Huff]

[Trevor Asquerthian] “Surely they will fix this soon “

I’m getting an update at this very moment.

[Gary Huff]

[Adam Rosenberg] ”
It sounds to me like standard ARs are standard due to technical origins and cinematic tradition. Therefore using a non-standard AR is ok as long as it is a creatively and artistically justified decision.”

You can use any AR you wish without regard to technical limitations as long as you render a 16:9 container and letterbox within that.

But randomly picking an AR after shooting seems odd as opposed to shooting with that in mind. Are you planning to reframe every single shot within your matte, or just toss a matte on there and call it a day?