[Marcus Moore]

Just add to Robin’s comments below- Pixel Film Studio’s plugins are ALWAYS being marked off as “ON SALE”. They’ve never been offered at the “non-discounted” price.

mObject is the way to go.

[Marcus Moore]

The timetable will be interesting to see.

How long the FCP X dev team have been working with these frameworks, so when we might see the results is the real question.

[Marcus Moore]

I don’t think 5K has much of anything to do with viewing 4K content specifically. You don’t use a computer display as a colour accurate monitor anyway.

The Retina initiative from it’s launch on the iPhone4 has always been about doing away with visible pixels. 10 years from now we’ll look back at a lot of displays today the same way we look at ones from 10 years ago.

Text will be sharp and clear. Interface elements will be detailed and completely devoid of aliasing. Photos incredibly detailed. And yes, 4K content can be viewed at full size (with Room to spare).

But let’s not confuse the purpose of a 4K TV with a computer monitor.

I’m a bit disappointed this MacPro won’t be able to run the eventual 5K ACD. But I think Marco Arment is right, that external displays have to wait for Skylake, Thunderbolt3 and Displayport 1.3. That won’t be until late 2015 or early 2016. So its not like I’m missing out on anything until then.

[Marcus Moore]

As Marco says in his own article, it depends on how much a part of your workflow involves parallel processed tasks.

You certainly aren’t going to get as good performance running RED RAW files on this machines as you do with software that has GPU enabled debayering- Pr, Resolve [and hopefully soon FCPX].

But for single threaded tasks, the horsepower in a MacPro has always been a waste.

You’re going to be limited on the Thunderbolt side as well, with only two ports. Do we know if those 2 ports share a bus or not? That could be a big limiting factor as well.

But undeniably the useful performance gap for most people will continue to narrow. I’d say the iMac would catch up, but until we see a good levelling off of capture Resolutions, the pure GPU performance in machines like the MacPro will continue to make a difference for higher-end uses. And next year’s 40Gb/s Thunderbolt 3 will continue to allow us to externalize hardware that previously needed internal PCIe.

[Marcus Moore]

Exciting stuff.

[Marcus Moore]

I think we’re out of luck on that one. This 5K display is the one Apple have wanted to do, because its a straight doubling of the current resolution, which means it works great for the OS scaling modes.

I think 4K displays will be left to 3rd parties. The good news there is those displays will be cheaper.

[Marcus Moore]

This is the advantage in the iMac that they’ve figured out an integrated solution.

I only see one way that a 5K ACD works with the current generation MacPros, and that’s some kind of Dual Link solution like we used to have- and those can be problematic.

I’ll be disappointed as anyone, but I don’t think there was another solution to be had, unless it was waiting to release the MacPro for another year. Which would have driven people mental.

A 5K screen isn’t the be all for me anyway. If I want a higher density display, there are really great 4K options out there now for a pretty good price. And the difference is much more negligible between 4K and 5K.

You don’t grade to your computer displays anyway- I’ve honestly been wondering if my better bet isn’t 2 current generation ACDs and a good 4K TV instead for monitoring.

[Marcus Moore]

No surprise to see a cheaper, crummier version of mObject from Pixel Studios. If you want this functionality in Motion and FCPX, just get the good one.

https://www.motionvfx.com/mplugs-33.html

[Marcus Moore]

Sorry Charlie, it doesn’t matter if people are cutting features in X, it only matters if they’re NOT.

Wait… what?!

[Marcus Moore]

Sync-N-Linc’s own Philip Hodgetts recently revealed that his Change List tool was used as part of the post process on the PremierPro edited GONE GIRL.