Oliver Peters
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Forum Replies Created
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[Shane Ross] “and it’s one of the requirements for a college class one is taking”
I get it. Although Affinity Photo does read/write PSD files and the UI is similar enough once you get used to it. But of course, like After Effects, if it has to be Photoshop, then there is no exact replacement.
– Oliver
Oliver Peters – oliverpeters.com
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Well… If their patent is deemed to be valid, then RED should have every right to vigorously defend it. We’ll see how this shakes out.
– Oliver
Oliver Peters – oliverpeters.com
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[Shane Ross] “as I don’t want to pay for it (only PS)”
If you want to go all the way, Affinity Photo is a pretty good replacement for Photoshop if you don’t need perfect compatibility. It’s about 95% there for still (not video) work.
– Oliver
Oliver Peters – oliverpeters.com
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Seems dumb to me. If that person wants a stripped-down, cheaper version, then get the free version of Resolve 16 and work in the Cut Page. Ignore the rest. Seems pretty obvious to me. But how is this related to Adobe CC?
– Oliver
Oliver Peters – oliverpeters.com
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[Jimmy Gallagher] “So I would ask for the deliverable to be a ProRes 4444HQ which will keep the full quality of the footage? Another person told me a DPX is better? What is the most high quality deliverable?”
Ultimately it depends on how much free storage you have and how beefy your computer is. DPX is am uncompressed image sequence and technically the best quality. However, it will become a royal PITA for you to deal with once back in Premiere.
https://en.wikipedia.org/wiki/Apple_ProRes
ProRes 4444XQ will be lightly compressed, but very large. You will have an easier time dealing with it than DPX, but will still require a fast, powerful system. I would recommend 422HQ or 4444. I doubt you’ll see much difference.
Of course, it depends on what you think the prospects are for your film. If this is a standard indie film that will go the festival circuit and then maybe some VOD service, you’ll be fine with HQ, 4444 or DNx.
Remember, that you’ll still need to render out an export. So if you go 4444 for the source and then HQ for your delivery master, it should be more than adequate.
– Oliver
Oliver Peters – oliverpeters.com
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[Jimmy Gallagher] ” coloured r3d files”
Remember, you are not getting back R3D files. You’ll receive whatever codec you tell him to render in. Generally that tends to be ProResHQ or 4444 for Macs and DNxHR for PCs. But that’s not a hard and fast rule and it can be other codecs. Just not R3D, since that’s a camera raw codec.
– Oliver
Oliver Peters – oliverpeters.com
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Normally you should have the colorist render the source files with handles at source resolution. Usually a couple of seconds of handles on either end of the clip and in the codec that works for you. Either ProRes HQ or 4444 or a high-quality DNxHR.
Resolve has a Premiere XML output preset, so the colorist would include an XML that will match back into Premiere. There will often be mismatches with effects like speed ramps. Make sure that you prep a sequence for the colorist that flattens everything to V1, removes all effects and graphics, and has no audio or only a mixdown track for reference. Make sure to replace all nests with source video before sending. Typically all speed ramp effects are best to put at the end, in the full length that you need for the effect.
When you get the rendered clips and the XML back, bring the XML into Premiere and make sure it matches your “send to colorist” sequence. Then use this sequence to replace the video in your “hero” sequence, re-apply effects (not lumetri), resizing, and graphics as needed. Export your deliverables.
This may be more time-consuming, but it’s the best way to make sure everything is correct. Note that this allows you to cut in 1080, but finish and deliver in 4K, for example.
– Oliver
Oliver Peters – oliverpeters.com
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I wouldn’t be so quick to blame Apple.
There are quite a few reasonable cases being made that RED’s patents should never have been granted in the first place. If you read through the actual brief (following the links in the EOSHD post to the PDF), Apple’s expert’s position comes down to the claim that RED’s patent is based on two or three other prior patents. It will be up to a judge to decide.
Why this started in May is anyone’s guess. Remember that RED was in favor with Apple a while back, because there was a RED Raven bundle on the Apple web store. We don’t know whether either party was playing hardball or not and this is the result.
In any case, it may well be a contributor to why we haven’t seen much progress with ProRes RAW implementation. But as you know, ultimately these things get settled quietly.
– Oliver
Oliver Peters – oliverpeters.com
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BTW – here’s an example of the projects appearing unsorted in the browser window. Note that the library lives on a local, external drive, not a NAS volume.
– Oliver
Oliver Peters – oliverpeters.com
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[Joe Marler] “There was an optimization after High Sierra 10.12 which might affect this.
“That could be it. However, FCPX is the only application where I see this behavior.
– Oliver
Oliver Peters – oliverpeters.com
