Michael Phillips
1
COW Coin
Forum Replies Created
-
I think the subject title is backwards. Should be: “Another Network Give Up On Apple” – I don’t believe it bothers Apple one bit that these shorts are now being edited on something other than Final Cut. One quick look in the iTunes store has a lot of SNL content for sale to the masses for a 30% equity stake. And while these stories may influence others to move from Final Cut – if I was offered either 30% of the content on iTunes being offered regardless of NLE system being used, or all the revenue from Final Cut Pro sales, I would go for the former.
I have always felt that once Apple got into distribution, its interested in FCP started to wane. And now it allows them to go for volume sales with FCPx on their own time and schedule, and are still making more revenue than ever with that compared to FCP7 with a lot less of the service and support expected by the higher end pro markets.
There are various blogs on number of app sales to make the top 10 lists on iTunes – most of them have at or more than 10,000 per day. And while actual total number of FCP customers over a 10 year span is hotly debated, assuming ~2.5M renewing customers, brings sales to ~685 per day average.
Now my numbers and perhaps math may all be wrong, but even if they are someone right – Apple did the right thing for the business they want to be in (making a lot of money).
Michael
-
Well it is upgradeable to DX hardware… 😉
Michael
-
Hmmm…. I need to check. The separation of pro and consumer… if you set the flag on the QT’s to high first, and then she opens them up with plain vanilla one, does it respect the tag for high quality? Something to try. When I open in QT Pro, I can set high quality, deinterlace and such and am prompted to save to those changes – so I suspect it stays with the file.
Michael
-
Ah, I guess I missed the part about interlace issues and assumed that it was gamma as that is always the biggest gripe about QuickTime wrapped files and playing then with Apple QuickTime player.
Are the files set to “high quality” in MoviePlayer? Also, if the footage was interlace to start, then it all depends on how the encoding was done in the first place. But watching interlace footage on a progressive screen (anything but a legacy CRT), will need some sort of processing to eliminate the interlace artifacts if that is the final viewing copy. That is different than moving interlace footage between apps using QuickTime as the interop.
Michael
-
Here’s a pretty good overview of the issues:
https://vitrolite.wordpress.com/2010/12/31/quicktime_gamma_bug/
Michael
-
Anything QT wrapped cannot be copied/moved to the Avid MediaFiles folder. Avid managed media is via MXF wrapper. My suggestion was for Sorenson to create native MXF DNxHD media which can be dragged to the Avid MediaFiles folder.
And I agree with Shane – I never work with AMA other than access, then transcode. It is not ready for most program types. And yes, I like “Media Composer” for the type of editing I do, but “Avid” I have a few issues with here and there… 🙂
Michael
-
You might want to look into the Sorenson Pro application as an “input portal” for these various file types as it can create native MXF/DNxHD on output that you move to the Avid MediaFiles folder.
Michael
-
Other than the suggested workarounds… if you have your original media transcoded to the same resolution (or equivalent), then you could just make that your new master file, if you consider the frame rate conversion to be of good enough quality.
Michael
-
I don’t believe you can group clips of different frame rates. You would have to transcode clips not matching the project/timeline rate beforehand, but then you lose all reference to original clips according to the very wordy warning when doing so. A workaround might be to duplicate START timecode of the 29.97 clips into the TC30 column so the original timcode count remains. Do the same for TAPE (is source ID is in TAPE) and duplicate column to Labroll or Camroll so you have it for an EDL if needed.
It would be great to be able to track original source timecode when in different project rate (as it did in v5.5) – but all that changed with v6…
Michael
-
Union or non-union?
Michael