Marco Solorio
Forum Replies Created
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Noah hit it spot-on. Just to add… the image sensors on the camera do create a beautiful uncompressed 4:2:2 image. If you take the live feed out of the camera (like S-Video), it’ll give you an amazing shot that is superior to what you get on DV tape (if you don’t mind the chrominance channels being smushed together). Some people will take a live feed for chroma-keying and capture it direct to disk. Doing that with the likes of an SDX-900 and using its SDI output will give you full 10-bit uncompressed 4:2:2 video. Delicious.
Death to tape. Cheers for P2 technology.
Marco Solorio | OneRiver Media
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Exactly as Jerry described. To add, you need to make sure you’re working in a bit-depth higher than 8-bit to begin with, otherwise you’re just wasting file size space. For instance, in AE, you’ll need to make sure your comp is set to 16-bit or higher. In FCP, your captured media needs to have been captured in 10-bit and are working in a 10-bit timeline.
Both the standard Apple 10-bit uncompressed codec and BMD 10-bit uncompressed codec will work.
Marco Solorio | OneRiver Media
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You’ll need to work in a 29.97 timeline and add 3:2 pulldown to your 24p clips for everything to work okay. If you don’t your 24p clips will have a messed up looking cadence to them. With the 3:2 pulldown added, your clips will undoubtedly have a “judder” to them that’s common with *any* 24p footage shown on a 60i display.
Look at the Nattress filters (https://www.nattress.com/) for adding 3:2 pulldown to your 24p clips.
Marco Solorio | OneRiver Media
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[walter biscardi] “Try 40 hours.”
LOL, that’s what I meant… “24-hour renders going for days!!!“
Marco Solorio | OneRiver Media
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I’m with Wally. AE7 on OSX/G5 has been rock solid as AE6.5 was. That includes 24-hour renders going for days. It’s truly been a pleasure to use!
Marco Solorio | OneRiver Media
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Sweet!!! The site is a total no brainer! Got footage? Upload and make some dough! LOL
Hell if anything, it’s a great way to backup your prized beauty shots (for free no less), so long as you don’t mind people paying you to use your shots as well!!!
I really think it’s going to be a hit or I wouldn’t have spent the amount of codec development time with them that I did, LOL.
Marco Solorio | OneRiver Media
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I agree with Wally. The upgrade was well worth the cost if you’re using it on a daily basis. The GUI is just soooooo right-on right now. It’s just so much more enjoyable to use, IMO.
Two things I wish it still had after all these years though…
– Ability to “node” layers. I.E., like the parent noodle tool, a node noodle that could link layers/effects to other layers. That way one plugin could affect selected layers. Woud be way more powerful than pre-comping and Adjustment Layers can be limiting. Seems like it would be easy to implement… like an Adjustment Layer, they can add a Node Layer. The layer doesn’t do anything unless it’s linked to another layer(s).
– Create clipping mask layers exactly as you can in Photoshop. *Exactly*
But other than that, AE7 rocks my world.
Marco Solorio | OneRiver Media
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Look to the left banner ads and you’ll see a brand new company called revostock.com. You can buy clips on a clip-by-clip basis from SD to 1080 HD, but for cheap! The company actually contacted me early on for codec testing and what would be best suited across all platforms. To say the least, I embraced the concept of the site and see it being a big success. It’s like istockphoto.com but for video. I’ve even thrown some of my own clips on their… it’s *incredibly* easy to upload and/or buy clips. Payment to producers is all made via PayPal! Genius!
The only bad part for now is the amount of content is really low since the site literally just started. They call it being in their “media acquisition stage” or something. I’ve been seeing some good momentum in the last week since they’ve started their first run of advertising though. I’ll wager it’ll grow exponentially.
At any rate, check it out. Revostock.com is definitely a good asset to have in your pocket of tools. I think I saw a couple of water/liquid shots that might fit what you’re looking for.
Marco Solorio | OneRiver Media
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The current batch of ATI and nVidia cards for the G5 are junk in comparison to the high-end cards found in Wintel machines. When I say junk, I mean JUNK. This is partially due to the G5s lagging on PCIe; no sense in developing high-end cards for an elderly AGP buss system. That would be like AJA making a Kona card built for the NuBuss system, LOL.
The high-end nVidia cards like the FX 4500 wont even work on a Mac, period. They’ve only been developed for the Windows side since Wintel has always been better on the 3D/OpneGL front for years (our 3D animation infrastructre, including the render farm at my facility always has been and always will be based on Wintel). nVidia just needs to finally write drivers and it’s good to go. Since the new PCIe Macs are a real thing now, I don’t know what the hold up is on both nVidia and ATI’s side of the fence.
I could pretty much guarantee that if nVidia had drivers for their high-end cards, like the FX 4500 for the Mac, that FinalTouch HD would instantly be compatible with it. 😉 I’ve spoken with Jon Wood as well in detail about the need for PCIe for use with FinalTouch HD long before PCIe was announced for Macs. PCIe is the gateway for FinalTouch HD to shine on a whole new level. Just a matter of time! =)
Marco Solorio | OneRiver Media
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We’ve had FinalTouch HD since May, but it’s biggest weekness at the time was the G5’s host video AGP throughput speed. This should chang with the latest PCIe Macs in conjunction with a *real* graphics card like the nVidia FX 4500 ($2200 a pop). Even better would be to do PCIe stacking of said cards like some Wintell computers can do. Looking forward to seeing what happens next because the app is truly amazing but needs more display power.
Marco Solorio | OneRiver Media