Margus Voll
Forum Replies Created
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If you have media pool filled and got not so mutch ram then you get this winning combination.
It would be better if you give us your config and material length so we can talk about it.
Now it just seems regular statement that stuff does not work but we do not know what you have to work with.
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Margus
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Yes the price point is really interesting. Lets hope for the support.
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Margus
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tangent new panel should be available by the end of january.
Pre orders mid january.
We will see how it goes but it seems interesting option when / if supported.
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Margus
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hi. i did not get why you investigate all this ?
I see it as it really depends what camera and how it is compressed.
Cant say about thunderbolt but lets say you have DV material coming out of camera.
Camera makes it DV in hardware and sends it out by firweire thunderbolt etc.
So the compression stays the same all the way in dv and fw or thunderbolt or what ever is just
physical carrier so to say.It really depends on many details and it is not like all devices will give out uncompressed
and all can capture 444 rgb i.e. all data that your camera will give out.
So you have to look at the combination of devices (cameras and capture cards) and
compression methods they use.But lets go back and start from the beginning what is your master goal ?
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Margus
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Remote is full versions option as far as i see it.
For remote jobs 1 extra license seems like peanuts
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Margus
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Lets assume that you will have up to 2k output and you can use nle as your mastering tool.
Then you could master in fcp (or any other nle).1. First light in resolve
2. export prores LT for offline
2.1 conform locked edit with full rez stuff
2.2 grad all the stuff in locked edit
3. export DPX 10bit for VFX or any other format you like and AE is good with
5. effects to be done after grading, in which case do a roudtrip to AE using DPX.
5.1 roundtrip from resolve final grade to fcp (nle in general)
5.2 replace vfx shots as needed
6. Review final grades and export a full scale master.I use it like that at the moment. My goal is to set up pipeline like this so if i have any changes
i can change some parts and re export all in the end. So i just have to start rendering some parts or all parts and all out put files are deleted and re rendered and if i open final timeline all falls in to its place.
So i could have nice tea and reading cows when machines are rendering 🙂Ok it is a bit one way street but until it all depends on me it works well for me. If you have bigger team then yes doing cg and vfx parallel to grading is good idea in time vize.
Just test it out and if it is all good then go for it.—
Margus
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export uncompressed for test and see what happens?
prorez is the one that gives you insanity on other apps.
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Margus
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try make files to prorez. mbp wil not be super realtime machine any way.
some say imac is good for them but full power you get on big desktop.
ok you could swap your drive to fast ssd but gpu you just can not change.
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Margus
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why not go with uncompressed 😉
there was something called mjpeg on pc with BM products. but it did not seem to cross platform on mac side.
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Margus
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why not grade first and the do vfx ?
then you can blend the vfx nicely with final colors?
what format it really depends how it is good to work for you and the client
and how you move files from your place to clients place.
i do not have ae here so it hard for me to say what is good. it really depends
on your needs. i use uncompressed mov’s or tif dpx etc. but after grading.
i’m not sure if ae can handle red.i think there is not rules written in stone. just test out and figure out what is important for you.
i bet most big post hoses have really custom way to do one or other thing.
and yes it also depends what your machines can cope with in reasonable time 4k vs 2k etc and the output format and bit depth and so on.endless possibilities, it is hard for me to say what is good for your work on hand.
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Margus