Oliver Peters
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I’m not sure this is completely correct info. The wrapper (.mov) isn’t important. After all, there are plenty of supported codecs that are wrapped as .mov and will continue to be supported. Such as ProRes.
https://support.apple.com/en-us/HT209000
The real factor is whether or not the codec relies on 32-bit QuickTime libraries to play back the media. That’s what’s being deprecated. macOS no longer uses QT7 (32-bit) libraries for media playback. There is a new 64-bit frameworks So Quicktime X is merely a media app, not an entire framework.
Going forward, file playback support will require several things to happen.
1. The manufacturer of the codec (like Avid) has to supply libraries within their own apps in order to play the files. That’s instead of relying on QT libraries for that file. BMD RAW is an example. – Or –
2. The manufacturer has to create a supplemental 64-bit QT codec pack to play those files. – Or –
3. Apple (in conjunction with the manufacturer) has to update the library components so there are new 64-bit versions within the macOS framework. It’s my understanding that’s currently underway with DNxHR.
As far as players that work with Mojave, another option that will play DNx media is Telestream’s Switch. I believe most of the Adobe and Blackmagic apps will also open and play these files.
– Oliver
Oliver Peters – oliverpeters.com
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[Mark Raudonis] “but I find it amusing when ADOBE presents it as such an innovation. An “innovation” that many have been using on other platforms for years.”
Actually, I don’t think so. Only Avid managed to nail this years ago. I’m not aware of others.
[Mark Raudonis] ” It’s why large, shared storage workgroups have stayed on AVID and their Nexis storage.”
That’s the big difference. You can use any storage and don’t need to cost of Nexis to make it work. Also something like Team Projects (cloud-hosted shared project files) works with After Effects.
But yes, in concept, Productions turns Premiere Pro project files into the equivalent of Avid bins.
– Oliver
Oliver Peters – oliverpeters.com
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A lot of good info in one of today’s Adobe Livestream. Both about how a YouTube-based production company works with content (think of them as a new type of “broadcaster”), but also how they’ve been using Productions. They were in beta before it was released.
– Oliver
Oliver Peters – oliverpeters.com
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Here’s a good webinar to watch that covers some of that:
– Oliver
Oliver Peters – oliverpeters.com
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I think you have to first define what “filmmaking” is. If you mean Hollywood, that’s a very small and regimented market and the chances of breaking into that from the outside are slim to none. You either work your way up into that industry or you don’t.
The commonly referenced exceptions, like Kevin Smith or the guys who did “Blairwitch” ages ago are outliers – flukes – people who worked hard at a shot and got it. Those types of options still exist through Netflix and many other outlets. But – and this is a big but – you have to separate making money with following your passion. I’ve worked on tons of indie films – nearly all of which have enjoyed some level of distribution – and I doubt that any of the principal investors and creators ever made money off of them.
If you want to make a living and you want to be creative, then there seem to be two options these days. The first – and generally an unconventional route – is to produce your own creative projects and find an outlet for them somehow. This can range from something like being an “influencer” to doing your own films and docs, such as what Gary Hustwit does (“Helvetica,” “Objectified,” “Rams” and others).
The second, more conventional route is to work in commercial/corporate media. Many companies pay for sponsored projects that have all the same aspects of high-end filmmaking, but you will actually get paid and make a living.
So is the industry changing? Yes. Do you have possibilities for the future? Absolutely!
– Oliver
Oliver Peters – oliverpeters.com
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I know what you mean. I going through a similar thing on a doc that’s been bouncing between X and PPro. The associate editor is pulling selects in X, sending an XML, and then the main editor is using Premiere. I would have simply stayed in X, however, the project started before this one assoc editor with a different assoc editor and she was working in Premiere. So sometimes you just can’t control these things! ☺
If your editor is willing to learn X, then stick with her. It’s going to take her a bit to get comfortable, so there will be a learning curve. Make sure she’s aware of the various tutorials in case she gets stuck. Good luck.
Cheers,
OliverOliver Peters – oliverpeters.com
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Ask her. If she says yes, you are golden. If she says no, then you’ll have to decide whether having this editor on board outweighs the value of using FCPX. If it’s not that important, then find someone else to cut it who will use FCPX.
I would politely suggest that you shouldn’t have spent so much time logging until you knew who was going to cut it and what was their preferred software. Remember, that by doing this, you are circumventing the editors’ own process of discovery, which is quite critical if you want a collaborator on the job. Just my 2 cents.
– Oliver
Oliver Peters – oliverpeters.com
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Have you tried a different keyer? The FCPX keyer often yields blocky results in my experience.
– Oliver
Oliver Peters – oliverpeters.com
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Some codecs are no longer supports if you are on a newer OS.
– Oliver
Oliver Peters – oliverpeters.com
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Actually only some of the video clips were portrait. Some of them were landscape 16×9 and some were square. Most of these are stills and for many of those, portrait was appropriate. Remember these clips/photos weren’t shot for this video in particular.
Like it or not, there are distribution platforms that embrace and even mandate vertical and/or square formats. In fact, the biggest feature update for Premiere Pro at the end of 2019 was Auto Reframe – an AI mode designed to make reformatting relatively automatic. It was added precisely because of vertical distribution.
– Oliver
Oliver Peters – oliverpeters.com