Owen Wexler
Forum Replies Created
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This is true. Although if I recall the free version limits users to three nodes also. Nonetheless, it is an excellent way to learn and evaluate the software and I give much props to Blackmagic for offering it.
When I made that statement, I was also thinking about film schools that are less inclined to buy or even download a free version of separate software for color grading. Inclusion in a suite makes this software more accessible to film students who otherwise would not be able to work with it.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Did some testing today and as it turns out with a powerful/new enough machine, even PPro CS4 handles H.264 like a champ… no need to transcode.
Windows Media Player on the other hand… not so much.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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I don’t know about the whole FCS suite, but at the very least, Apple should sell Color to Adobe. They aren’t doing anything with it, it’s a valuable asset that there is still demand for, so they should at least get some money for it and make it available again to people who want it. If Apple sells Final Touch/Color to Adobe, Apple gets to make some (more) money and Adobe gets a popular, well-regarded high-end color grading solution to add to the Creative Suite, and high-end color grading will be available once again at the entry level… it’s a win win for everyone.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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You have to go into every nested comp manually, turn on motion blur for all the layers in the comp that you want motion blurred, then turn on the motion blur switch for the comp.
In you example, you would go into the “Building A” comp, turn on motion blur for all the layers, then turn on the motion blur switch for the comp. Once you go back into your main comp, your nested comp should now have motion blur.
Hope this helps.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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I can answer the subject question in four words: people’s livelihoods are involved.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Believe it or not, I’m watching Larry Jordan’s FCPX training now and I think Apple did have a few good ideas with FCPX (key word: A FEW). The keywording system (although it should have been included in the existing paradigm of projects, sequences, and bins), clip connections are a fantastic way to keep video elements in sync (but it could have and should have been incorporated into a track-based editing system), and the skimmer – people hate on it but from what I see it’s a great way to look through a long clip quickly. WIth that said, they definitely had more bad ideas than good and threw too much of the baby out with the bathwater.
Point is, I could see a few of FCPX’s better ideas being incorporated.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Yes, Color is dead, unfortunately. If you are going to learn a color grading app, learn DaVinci Resolve, that will be the new standard. I’m a Color’ist planning a move to Resolve at the moment also.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Running MC5.5, FCP7, and CS5 on the same machine with no issues whatsoever. *knocks wood*
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Yeah I could use it just as a proxy for offline or all the way through, either one is good. Thanks guys! I’ll try DNxHD also but I believe my client is running Windows 7 Home and the DNxHD download page says it won’t work with Home, can anyone verify?
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Yeah I’ve found the same thing too testing the XML workflow with CS5, 3way color corrections don’t come over well at all. It may be better with CS5.5.
If you just need to burn a Blu-Ray of your finished sequence you can just export an uncompressed or ProRes MOV from FCP and bring that into Media Encoder/Encore.
Cinematographer – Editor – Motion Graphics Artist – Colorist