Joe Murray
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The need for plug-in updates should not surprise many people, maybe only those who have not been in the game for long enough to transition from one software release to the next. I’m sure Genarts will have a reasonable upgrade path as will other plug-in makers.
Joe Murray
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Charlotte, NC -
I’d also like to know about the lenses you used, if you have time to post that. Are you happy with the sharpness you’re getting out of the camera? It’s always hard for me to judge that from Vimeo playback.
Joe Murray
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Charlotte, NC -
Thanks for the link. I think what threw me off was the statement in this thread that “They’ve crippled the Mac Pro and iMac lines from running ethernet based storage easily.” I guess it should have said MacBOOK Pros instead of Mac Pros since no Mac Pros are based on core i5/i7 processors.
Joe Murray
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Charlotte, NC -
[walter biscardi] “I really don’t understand what Apple is doing quite honestly with Ethernet. They’ve crippled the Mac Pro and iMac lines from running ethernet based storage easily.”
I must have missed out on this. We use ethernet storage with Mac Pros but not iMacs. Without going through the whole story again in this thread can you point me to some threads where these issues are discussed?
Joe Murray
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Charlotte, NC -
You have to build the system that works for your most taxing need (i.e. Red) not your least (i.e. AVC Intra). In both cases though, processor speed is necessary for rendering or transcoding these compressed codecs. The machine you’re looking at is acceptable for both tasks although as you know it’s not the fastest option at this point.
The size and speed of RAID you’ll need is more dependent on how you intend to handle the Red workflow. There are several pathways from proxy to finished product – in my experience some projects will be fine finished with Color and rendered to ProRes, some projects receive color correction by a facility dedicated to that process, and you may find some projects warrant uncompressed HD (mostly commercials for this, so they’re short…)
Do you know where you’ll fit into this range of options? That would guide a recommendation for RAID size and speed.
Joe Murray
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Charlotte, NC -
I incorrectly inferred that by saying ProRes HQ is overkill for 1080, you were suggesting that regular ProRes is good enough. Which is what I thought until I saw this noise and then upgraded to 10 bit.
Andrew, if you system will handle playback of 10 bit uncompressed 1080 you might give this a try on your footage, but the other posters are correct that if you don’t see the banding on your broadcast monitor, don’t worry about it.
Joe Murray
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Charlotte, NC -
[Shane Ross] “And I agree…ProRes HQ is overkill for 1080. It is meant for 2K and higher formats. All you gain by going HQ with your footage is increased file size.”
In my experience this is not true. I rendered a project in Color at 1080 using ProRes (not HQ) and saw noise in a dark, blurry part of the picture. Re-rendering in 10 bit uncompressed fixed the problem. I didn’t try ProRes HQ but regular ProRes was not good enough.
Joe Murray
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Charlotte, NC -
I rarely use Photoshop files directly in FCP. There are too many opportunities for something to go wrong if the project is updated in the future and compatibility between PSD and FCP has changed as a result of software updates. Also, if someone opens and alters the PSD it throws everything out of whack in the FCP project that uses that file. I use targa files with alpha channels. These can easily be updated/replaced and FCP still just looks at the pixels, not having to interpret layers and possibly misinterpret them. Yes, on the surface it’s easier to pull in a layered PSD but in my experience it’s way more hassle in the end if something gets screwed up and makes its way to a client.
Sorry I don’t have a solution, this is more of a vote of no confidence in the general workflow. Good luck.
Joe Murray
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Charlotte, NC -
Is it possible to make a FCP/Compressor-created Blu-Ray disk loop automatically?
Joe Murray
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Charlotte, NC -
I wouldn’t use Smoke for basic editorial, but for finishing and effects, when the client is over the shoulder or the deadline is really tight. Although if you count Fire, I have finished a 1 hour PBS special in HD on Smoke’s big brother.
Joe Murray
Edit at Joe’s
Charlotte, NC