Robin S. kurz
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[Oliver Peters] “Take the shot of your wife’s photo and zoom in 100%. The compression level that is being uses together with the in-camera sharpening make the image quality quite poor.”
Wow. That’s just… depressing.
[Oliver Peters] “Sure, at a distance it looks great”
Pfff… but who cares about content, right?
Yeah, we get it.
If DaVinci and Picasso had just not used such shit paint but TODAY’S superior hi-rez paints, mixed to perfection… they could’ve actually made some quality work and something of themselves!
That’s the level of argument we’ve reduced ourselves and the craft to. We’re that scared.
– RK
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[Bill Davis] “Be interesting to see whether his predictions will prove valid over the next few years.”
Have always very much liked what Cioni has brought to the table. Will most definitely be looking out for that. He’s a smart guy. The thought of hearing him made me think of this…
… and I’d imagine that it’s something along the same lines. Where the overall topic could easily be an analogy for this one. Extremely worthwhile watch imho, either way.
Clearly a very painful and scary reality for the die-hard “ICE drivers” here. ????
– RK
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[Bill Davis] “[Oliver Peters] “If by that you mean an iPhone as a camera or an audio recorder, then BS!!!!!”
We will disagree on this then.”
Right there with you. Anyone that thinks recording “pro” audio or video on an iPhone is “BS!!1!1!!” will find themselves veeeery lonely up top their high-horse someday.
When multiple audio sources are involved I’ll usually use an F4. But if only one lav is involved, which is more often than not, then I use a MKE2 Digital with Apogee’s Metarecorder on an old iPhone with AirPods as monitors. Up to 96kHz, 24bit audio all iXML tagged, named, marked and subsequently exported with a FCPXML file for good measure and single click import and organization. I’ve even used one iOS device as the master for up to three satellites, in case I didn’t feel like adjusting levels with my Watch that day.
Oh… but that’s SO “non-pro” and any and every “pro” will catch that it is in a millisecond of listening to it. No question about it. Because one can’t of course use an iPhone as an audio recorder!!1! Silly me. ????
[/s]– RK
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[Oliver Peters] “However, when it comes to cameras, all smart phones camera suck compared to the real thing.”
You realize of course, that no one ever even made any claim even vaguely to the contrary, nor was that the point to begin with?
[Oliver Peters] “Just because experimental filmmakers can do a feature or a commercial on an iPhone (including Soderbergh) doesn’t make it superior to a pro camera.”
There it is again.
“I think this is the future,” [Soderbergh] said. “Anyone going to see this movie without any idea of the backstory to the production will have no idea this was shot on the phone.” It’s the skill of a great artist to turn a limitation into a strength, and indeed, Soderbergh has harnessed the potential of the gizmo in your pocket to create a striking and affecting new visual dialect. Bad news, fellow laypeople: we no longer have any excuse for not having completed a feature film.
[…]
Don’t get it twisted, the iPhone’s no substitute for a 35mm camera; it’s its own thing, and all the better for it.
[…]
… but here, that quality is precisely what makes the iPhone perfectly suited for Soderbergh’s purposes in this film. The iPhone flattens an image’s depth of focus without losing clarity, creating a disorienting effect in which something feels wrong even when the frame is all in order. At times, the amount of visual information that Soderbergh can force into the foreground is somewhat overwhelming, as the brain rushes to decide where the eyes should be drawn. How better to communicate the mental interiority of a woman losing her mind?
[…]
Soderbergh also capitalizes on the lightweight maneuverability of the iPhone for some exhilarating seat-of-his-pants cinematography in the film’s most arresting scene.(emphasis mine of course)
Yeah… HE certainly understands how nonsensical the “You’re only as ‘pro‘ as your equipment!!” notion is. Never asking himself if his equipment is what makes him “pro” or if it’s actually how he uses what he has or… *gasp*… the content? ????
– RK
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[Steve Connor] “Sorry I meant this bit
[Robin S. Kurz] “needing an eGPU with TWO beefy GPUs just to get realtime with a few 1080p clips that have effects, on a 2017 MBP?! Over AN HOUR for an 8-minute export without them?”
Based on my EXPERIENCE with R15 over the last few days, That bit is rubbish.”
Oh, right. Jeff just COMPLETELY FAKED the video. Got it. My bad!
– RK
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[Steve Connor] “This is rubbish”
Sorry to have triggered your pavlovian nerve so harshly… but feel free to point out when and where I said that that was NOT possible.
– RK
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[Neil Sadwelkar] “The way I think DVR 15 may work as an AIO is to be one system, but 4 heads.
One asst editor to set up project import, sync and organise stuff, one editor who edits, one (or more) VFX artists who can do the keying/comping/cleanups in Fusion, and one sound engineer to do the sound sweetening and mix.
All four can take turns working on the same project and same system with no media being sent in and out. “But then I’d venture to say, that you’re describing criteria that barely speak to even 1% of potential users. Meaning, not a deciding factor whether to go with Resolve or not for the vast majority. So even if all that is true and possible, I don’t see how those aspects in and of themselves could affect the actual, overall marketshare in any significant way in the end, i.e. sway MASSES (of ANY level) to migrate from what they already have or know. The masses will have an entirely different trough of criteria that are relevant to them first and foremost. No?
– RK
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Since I’m not one to install beta software willy-nilly, I’m in no position to check for myself, but after just seeing THIS…
https://youtu.be/cLnT3XFbyKk?t=82
(starting at 1:22)… boy do I hope that r15’s performance isn’t only better than r14’s, but in fact a few HUNDRED TIMES improved. Since this is just scary. I knew from passing use (of the editing page) that performance was bad, but… needing an eGPU with TWO beefy GPUs just to get realtime with a few 1080p clips that have effects, on a 2017 MBP?! Over AN HOUR for an 8-minute export without them?
They’re kidding… right?
Even a base model iMac from a few years back would give me realtime and a fraction of export times running FCP. What’s wrong with this picture? Surely there’s something horribly amiss? How else could or would anyone consider this for even the most basic editing?
– RK
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[Walter Soyka] “but you’ve actually used CineForm?”
Heck yeah. A while back that was what a TV Pilot I edited was shot on exclusively. It was completely unusable natively. A complete no go on every system involved in the edit (the Avid’s were of course completely lost either way). A little faster slide-show than RED, but without transcoding to something else… useless for actual work. PR raw isn’t even an issue on an old iMac or MBP, off which I’m doing 4K 50p natively. Shall we compare that with 4K 50p Cineform footage on the same machines? ????
[Walter Soyka] “I find it to be highly comparable to ProRes in image quality, file size, and performance. “
If you say so. But then I guess you had an entirely different version, max 720p, or simply a computer that was 5x more powerful in every respect. In which case… that’s the whole point. All completely unnecessary with PR raw.
But seriously… if that were in fact true, and it was as brilliant as you say, then why exactly hasn’t everyone (including BMD) adopted it as opposed to that (imho) nonsensical cDNG? Hmmm…
[Walter Soyka] “Let’s ask Grant!”
Let’s not. Since, if you had actually worked with PR raw, you’d know what he’s claiming is complete hogwash and he of all people should seriously know better, don’t you think? Claiming „it’s a lookup table and a bayer package” or “it’s a container with a LUT“… HUH? Either he’s being willfully obtuse or just plain has no clue what PR raw in fact is all about and just going off guesses from some demo he saw somewhere? PR raw as a format has ZERO to do with lookup tables until it is inside FCP. And even then, they are 100% optional. So what exactly is he going on about? PR raw merely encapsulates the camera’s metadata into the file, and, exactly as it has been doing since 10.3 with e.g. FS7 material off the camera, applying a — once again optional — standard LUT upon import, if it has one for the particular profile. Somewhat worrisome that he of all people would spread something so factually incorrect.
Fact is, BMD’s already not so romantic (to put it very diplomatically) relationship with AtomOS, inevitably leads me to suspect, that he/they are just miffed that they were bypassed for the big news for both their hardware AND software (ouchy), but AtomOS not only wasn’t bypassed (understandably), but even got exclusive dibs. Eek! So I suspect now they’re pouting and playing coy as some sort of “PR-getback”? Saying “it has issues” and “it’s for consumers at the moment“… oh really? ???? I guess we’ll see about that.
“The reason you want to do that is to bypass that stage and go into DaVinci…” oh yeah. And Davinci only. Obviously.
… oh wait… you can’t. Oops. So clearly it must suck! Case closed. ????
Now I see what “issues” he’s talking about. Not format but rather ego issues maybe? Acting as if they are the only one’s that “know high-end-Mr.-Hollwood color science!” and that silly little phone company of course doesn’t. Cleverly turning it into a sales-pitch for Resolve by effectively implying that “you can only trust us when it comes to quality color“… wow. That much hubris etched forever into the Tube? Be careful that doesn’t come back from behind and…
Someone’s coming across as a bit of a poor loser with incorrect statements like that. Because I highly doubt that BMD is getting around adopting PR raw sooner not later. As soon as more people get it into their hands, they’ll be screaming for it as an option and opting for cameras that do offer it, guaranteed more often than not. In a year or less, the question will be “but does it do ProRes raw?” and I suspect be an ever more deciding factor whether to go with the one or the other. Or I could be completely wrong… then again… nah. ????
We shall see.
– RK
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[Scott Witthaus] “[Neil Goodman] ” It seems like FCPX is developing at the slowest rate at the moment so it will be interesting to see what apple has up it sleeves when it does drop a big update.”
Seriously?”
I know, right? ????
– RK
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