Oliver Peters
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Forum Replies Created
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>>What about all this talk about LiveTitle integration?<< From whom? Not from Apple. LiveType is the same as before but I believe with more collections in the Studio bundle. Maybe also in FCP5 by itself. >> In other words, can FCP5 trim an offline in less than 50 steps?<< Offline to online conforms are cumbersome but not as bad as you imply. Just a weak point that is about the same as before. Sincerely, Oliver Oliver Peters Post-Production & Interactive Media Orlando, FL http://www.oliverpeters.com
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Are these effects filters added to clips on the timeline or pre-rendered movies? If so, have you trimmed in from the ends of the clips so that there is room left for transition durations?
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Sean Lander] “he next upgrade will do the upholstery and
the body work”Sean,
I would agree on the things that still need to be done, but for reasons that others like Graeme have pointed out a number of times, this would take quite a bit of rewriting of the core. Since this probably affects only a small percentage of users, I wouldn’t hold my breath.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Sean Lander] “…. Browser text size an option.
**changing the browser text size changes it for all open bins and
the timeline! How stupid is this? Makes it unusable.**…..
…..I can’t believe they have called this Final Cut Pro 5. I’m just amazed. At best I would call it FCP 4.6 HD. ….
….Though Soundtrack Pro looks great. This program is worthy of a full whole number upgrade…..”Sean,
You certainly sound jaded! The browser text size was the biggest single complaint I heard when training older editors using FCP for the first time. This was a welcomed and unexpected change. Absolutely necessary on 23″ displays.
What about multicam, native HDV, ability to use IMX and P2 media?
STP is a rewrite not an upgrade. It is not ST 2.0. What about Send To of multitrack audio timelines to STP with pix reference? Didn’t you like any of these things?
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Remember that what you are doing is mixing codecs in FCP when you add a native TIFF to video. When you do this in Avid, the TIFF file has been converted to 720×486 OMFI media first when you imported it. Try your tests with several streams of uncompressed 8-bit and add 2-D motion effects (No 3D, No shadow). This should give you results close to the claims with the XRAID drives. Remember that your RT is software RT generally for preview only, which is the same as what a new Adrenaline would do. Your 8-year-old Avid had effects processing hardware. That’s largely gone from most companies’ lineups.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[MPE] “All the computative tasks is handled by the CPU. However, the recompression is done by the on-board codec. So for example, for DV with 3 PiPs, the computer will calculate the FX (in uncompress mode is the popular theory since it has the lowest overhead while maintaining the best quality) and send an uncompress stream down to your DNA. The DNA in turn recompresses it back to DV format. The result? More stream of DV since the recompress is not handled by the CPU. …
…..But for compressed formats like DV, 2:1, DVC Pro HD, DV50, etc – the DNA does perform more streams- at least enough that it is difficult to explain by platform variation.”MPE,
I think we are actually in agreement as to how the system works – we just differ on the symantics. What you describe above is exactly what AJA is doing in Io, with the main exception that Io does not recompress to DV or anything else. Output is only uncompressed (analog or digital). Io has no pass-through DV ports, so if you want to work in native DV25/50 from the deck, you have to disconnect Io. IoLA is more or less equivalent to Mojo and the full Io is more or less equivalent to Adrenaline. The question is whether Adrenaline is justifiably worth an 8X larger price tag.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[MPE] “As you have said, the codec is on board. Thus some of the intensive tasks of compression/decompression is off loaded….
…..Try using Io for DV. Decent amount of RT as long as you keep it in Unlimited/Low Quality. ….
….With Adrenaline – full quality 4-8 layers of DV. Mojo the same but of course limited to 8 bit.
..I understand it Mojo does capture DV native via its firewire port if you set it to DV. …”MPE,
You are mistaking optimization of the software for the CPU/GPU with what the external system does. Avid works the same way in performance with or without either Mojo or Adrenaline attached. The difference is that Adrenaline acts as a dongle for MC so you can’t even make an assessment without Adrenaline connected. Mojo acts as a dongle for 1:1 on Xpro. You can see this if you run XproHD without Mojo and work with DVCProHD and DNxHD. Works just fine. No Mojo required.
In the case of Io there does seem to be some overhead lost to feeding the output, so I can see where performance might actually drop a bit. Aja is touting acceleration when you use Kona2. This is an installed PCI card which is quite a bit different than Io, Mojo or Adrenaline.
The onboard codecs of Mojo do nothing other than handle I/O tasks. If there was any actual acceleration going on, the computer would be having to send MULTIPLE streams of data out through the FW port to the Mojo and then back again and then one more time for a composited output. That simply isn’t happening. You’re correct about the native DV on Mojo, but this also means you have to transcode anything that isn’t DV down to DV. This means all your 1:1 media gets compressed to DV. This is RENDER process which does not gains any RT performance from Mojo.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Will MacNeil] “There’s a big difference between something like a Mojo and an Io or even the Blackmagic multibridge, and it’s essential to the difference between Avid and FCP. Mojo is an accelerator, the others aren’t.
“Will,
Care to explain that? Neither Mojo nor Adrenaline do any sort of acceleration. Both include A-D/D-A conversion and include hardware codecs to convert DV footage. In the case of Adrenaline, it will also take a hardware expansion card to enable HD I/O.
They pass uncompressed SD video to the computer over FW. That’s essentially the same thing Io does. All effects processing is CPU or GPU based, just like FCP. The only thing Xpro/Mojo enables that FCP/Io doesn’t is mixed codecs in RT (uncompressed + DV) on the same timeline. On the flip side, Io gives you more audio I/O, more video connections and broadcast-quality audio connectors versus Mojo’s RCA connectors; plus, cleaner looking video when using component analog.
In my experince with Xpress Pro + Mojo versus FCP + Io, I find that the Avid app far more frequently loses connection to the external unit over FW. So again, I’d love you to explain how the Avid products accelerate anything, since that’s something Avid has been unable to do for several years to anyone’s satisfaction each time that question is raised on the Avid-L.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
I think there is definitely a problem that isn’t inidicative of FCP5. I don’t intend to be flip, but I would suggest two options: 1) pay a qualified FCP freelancer to come in for a few days and show you the best workflows to use with FCP; 2) spend the bucks for a 3-day FCP editing class as a certified training facility. I think in the long run this is money well spent. For books, check out the “Focal Press Easy Guide to FCP” by Rick Young. You are having unusual problems that are not the norm.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
“I can only tell you what I read in Film & Video magazine. May 2005 issue. I don’t see why they would lie about that. It’s a quote from Carl Walters of the Orphanage. ”
I’m not challenging that, but it’s only part of the story. I think Orphanage did part of the work, but also assembly and color grading was handled by 501 Post in Austin using the Quantel eQ. This has been published and was a key part of Quantel’s demos in their NAB booth. Rodriguez cuts on an Avid Media Composer and also owns a DS, so I questioned the Quantel folks as to why he’d use an eQ. They told me that 501 was used for one of the trailers. They liked working with the editor and liked the results they got, so decided to handle the movie there.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com