No matter what container you use, if the video is to be projected, you want a codec that is not long-GOP and not lossy. Or, at least not so lossy that the viewer is going to see, right away, that they’re looking at mud swimming in mud.

Again, go to your customer/end user. There is a real reason why “film” (or digital film) projection is using a…

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If you are editing on a Mac, ProRes is the way to go for your editing codec but then you need to it into something that your customer wants.

Apple has never made ProRes writeable (recordable) on Windows, though it will play easily. As long as you aren’t interested in supporting some form of HDR, you can compress the video using the H.264 codec, t…

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Well, you have the answer below. But I have found Apple computers to be less expensive than the Windows systems and I built a facility specifying Apple systems (which my editors preferred). Windows systems are harder to manage while Apple systems just work. We did have a couple of Windows computers running Avid’s DS bought the same year as the…

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I did some pretty difficult transcoding on my wife’s M1 MacBook Pro (the first one released with the M1 chip). I had been using a 2009 Intel-based Mac Pro “flashed” to be a 2010. It had a Sapphire Pulse RX-580 and a lot more RAM than you can stuff into an Apple MacBook Pro.

My wife’s computer did every transcode in one quarter the amount of time…

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Here is what I have noticed, editing with Apple’s silicon chips:

If you are using Apple’s native ProRes codec, Apple’s SoCs really speed up your workflow. This is because they have, on the chip, the Afterburner card. Back with the Intel Macs, you could stack up a bunch of them to deal with the Apple codecs and speed up your workflow significantly.…

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I am assuming that you are looking at the “base model.”

I am of an age where I remember the “gas crisis” in the United States in the 1970s. In order to get a certain EPA mileage score and also in order to compete in price with the Japanese car makers, GM introduced the Chevy Vega with a novel concept: The optional back seat.

You see, the back seat…

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The way I always handled this issue is to do a slow push or pull on the image. I always make the movement linear so that it does not appear to stop or start at the beginning or the end of the movement. That, combined with noise or grain will give the viewer the sense of movement that you are looking to achieve.