[Oliver Peters]

[Tim Wilson] “I have mad respect for Grant being able to do genuinely engaging presentations for an insane number of products”

What makes Grant’s presentations so good, is that he has a genuine love for what you can do with the products. He’s not just spouting the marketing bullet points. Second, he’s less polished (in a good way) than a typical demo. So he’ll try things that may or may not work perfectly – an absolute no-no in a standard product demo. So it’s fun to watch his fun at doing these.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Michael Gissing] “Interesting that Grant has led with web streaming live switching in these times.”

In keeping with the times. Of course, the ATEM Mini and Pro models aren’t limited to web streaming.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Brad Hurley] “Because Final Cut can’t work with Braw”

In theory, Apple could support BRAW. According to BMD, the SDK is openly available to developers. Assuming that’s true (and there aren’t any behind-the-scenes strings attached), then Apple could just as easily support BRAW as ProRes RAW. It would just be a matter of allocating engineering resources.

I think right now, even though we are a couple of years into this, it’s still too early to say who will ultimately support which codecs. It’s still evolving. Until one or the other or both get a few “name brand” camera manufacturers to support these codecs for acquisition, there won’t be much impetus to change.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Brad Hurley] “Apparently a lot of people have been pestering BMD to include it, but they’ve been talking to the wrong company”

Or BMD doesn’t want to pay Apple any licensing rights since they have a competing solution.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

Part 2

https://youtu.be/koxNz2EEeZw

– Oliver

Oliver Peters – oliverpeters.com

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[Oliver Peters]

I was just made aware of this. So there’s more “fun” coming even after the transition to Catalina. Oh great! ☹

https://support.apple.com/en-us/HT210999

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

This process won’t help everyone. If you haven’t already taken these steps, it probably won’t help now. But it will help you in the future.

Our media is all on a NAS for day-to-day work. However we routinely follow these steps:

1. New dailies media from a shoot is stored on the NAS.
2. The same dailies (after being organized for the project) are archived on raw drives.
3. Ongoing Premiere project files are backed up daily to DropBox (just for extra protection).
4. When done/locked/delivered the remaining elements (project file, music, grfx, etc) are added to the raw archive drive.
5. That project folder is also moved to a “backed up” folder on the NAS after the archive copy is complete. Oldest backed up folders are deleted when space is needed on the NAS.

At any given time, if needed, we can fully restore the project to the NAS from the drive. We currently have 205 drives ranging from 2TB to 8TB in capacity. Yesterday I took 14 drives home (about 78TB) with the media that we could potentially need in the near term. Although we never envisioned the archive drives to be used in a situation like this, it is totally appropriate. Hope this helps someone in the future.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

This video was posted yesterday.

https://youtu.be/Ld7w1mu42vI?t=3548

It’s recap discussion of the HPA proof-of-concept workflow. However, I’ve cued it to the point where they are talking about Eclipse Technology. It’s a very interesting Resolve / Frame integration.

https://www.eclipsetech.co/

– Oliver

Oliver Peters – oliverpeters.com

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[Oliver Peters]

Very cool. Thanks for the explanation.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[David Lawrence] “Bottom line – buy drives from B&H. Their drives all come with a real warranty.”

I second that wholeheartedly.

– Oliver

Oliver Peters – oliverpeters.com