[Greg Janza]

another option is to make use of the secondary color correction tool. Your subject looks to be significantly different lighting than the window so it should be easy to isolate just the window light and manipulate color correction tools to bring it more into line with the rest of the image.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

all of your issues will go away once you start working with 4k files in mxf format.

I have an i7-5820k, GTX970, 32 gigs ram with media on 4 drive TB2 raid and I have no issues with full res playback in Premiere.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Tim Wilson] “We weren’t doing well enough. We needed to do better.

And they have.”

Thanks for sharing your perspective as someone who used to be inside the ropes.

I think it’s worth noting that Avid as an editor was for so many years the absolute gold standard. I still believe that it’s the fastest editing interface although the caveat is that you need to be an expert on it before the speed of it truly reveals itself.

What’s notable about your thoughts is that you add the comparison to Apple and from my perspective Avid and Apple are similar in at least one regard. Both companies had a dedicated and loyal video professional user base. But each company made strategic moves that ended up alienating a sizable percentage of that professional user base and I’d argue that as a result both companies have permanently lost a significant portion of those users.

If Avid is in fact trying to right the ship and once again make a superior product then hats off to them. I happen to fall into the category of folks who were loyal to both Avid and Apple but as the NLE marketplace encountered seismic shifts and advancements in the last several years both companies struggled to show their relevance within the niche professional video market and that then led to my and many other professionals’ abandonment of their products.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Impressive that Avid management had the guts to face it’s customers but watching it feels like we’re watching the Sony Betamax team trying to argue that their product is actually better than VHS.

My point is that Avid has failed it’s customers so badly for so many years that it almost seems pointless to face the customers. I also get the impression that several of the editors who voiced their concerns have no other option due to their being employees at large post facilities. And if I was trapped using Avid I’d be mad as hell too.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Matt Pfingsten] “The footage is XDCAM EX 1080p30. 35mbps. “

Nothing in your setup would indicate that the computer can’t handle the format so I would lean towards an issue with the XDCAM EX format.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Very slick Adobe marketing videos.

The Fincher piece clearly shows a post production environment surviving just fine without Avid.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Tom Sefton] “The new arri 65 is stunning. The epic monstro is beautiful. Change is good! It keeps everyone busy!”

I think the whole point of the Yedlin analysis is to show that we’ve now entered a technological advancement period with regards to resolution in which it can be argued that the advancement serves no real purpose.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Andrew, I agree that it’s probably a result of subconsciously clashing with a preconceived idea of what a film should look like.

Everyone is different in their reactions but for me I have a negative reaction to any visuals that are shot like “reality.” I personally hate the look of programming that’s shot at the frame rates 29.97 or 59.94. My mind processes that look as flat and boring.

Most of the projects I work on are shot 23.976 and to my eye that’s the ideal visual aesthetic.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Walter Soyka] “I’m also a fan of HFR, no matter how many people hated The Hobbit. It’s very important for immersion.”

The funny thing about that to me, is that to my eye it creates just the opposite effect. I hate everything about HFR for exactly the immersive reason because I can’t immerse myself into a film shot with HFR. The technical aspects of that format are constantly taking me out of the viewing experience and calling attention to my eye.

But HFR obviously affects everyone differently.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Walter Soyka] “Unfortunately, the people who sign the checks usually sit in the front row, while the best seats in the house are sometimes as far as halfway back.
“

That might be true but Yedlin also does a good job of showing that imagery isn’t necessarily getting any bigger on our retinas as we scale up in screen projection size.

so again the notion that there’s an actual need for higher resolution material is simply a marketing ploy.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles