Ronny Courtens
Forum Replies Created
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LumaForge has grown extremely fast and we have always been looking for a solid partner to take us to the next step. OWC was looking into extending its market with high-performance networked storage, so this is a win-win situation for both companies.
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Thank you, Tim! We couldn’t have found a better company to take our team and our products to the next level. I will be often on this forum from now on.
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The grey area IS the frame. You can blade video either at the start or at the end of a frame, but you cannot blade video in the middle of a frame. There’s no such thing as a “half a frame”, so you can’t cut to something that isn’t there. To easily jump to the frame boundaries, use the left and right arrow keys.
– Ronny
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This phenomenon has been in the app since version 1. According to Apple, it’s a software bug that shows an internal code that is not intended to be displayed. It appears it is caused and can be intermittently corrected by several various things. You can read more details in this thread from 2012: https://www.fcp.co/forum/4-final-cut-pro-x-fcpx/6650-red-band-in-fcpx-timeline
I have only seen it in very few projects, mostly with optical flow retimed clips that have audio. In most cases, this red line does not affect performance and can be ignored. I a few rare cases it does indicate a corrupt file or a corrupt render file, which can affect performance.
– Ronny
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Depending on the picture profile you are using, FCP X may have applied an automatic LUT to your footage. So it would be useful to know what picture profile you have used.
– Ronny
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In the setup at Hangman Studios, the colours seem very accurate across the pipeline. I could see no difference between the viewers in FCP X or Resolve on one Pro Display, and the program out on another Pro Display connected directly via Thunderbolt to the Mac Pro. It was even very hard to see any difference between the images on the Pro Displays and the 77″ OLED monitor connected via HDMi and a Blackmagic card. The difference between the Pro Displays and the LG OLED tv only becomes apparent when you start running HDR footage.
This is a quote from James Tonkin that I left out of the article:
I have a 77″ OLED LG screen in the grading suite, which is a jaw-dropping display. Everyone who comes in here always gets drawn to that screen. But that tv only has 500 Nits of peak brightness. Last week I was doing some HDR tests and I was totally baffled by how far I could push the Pro Displays. You don’t realise how amazing that extremity of HDR luminance looks until you sit in front of a real HDR display and start pushing things around. These Pro Displays are extremely accurate and will last a very long time.
– Ronny
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I am not a huge fan of Youtube influencers, but Jonathan Morisson is the exception that confirms the rule. Met him at NAB, he is a very bright guy and an unpretentious perfectionist. I really like how he did this interview.
– Ronny
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Oliver Peters: Ultimately a lot of manufacturers are pushing the idea of all media in the cloud. No on-camera media (other than as a buffer), no hard drives, no on-site NAS/SAN storage. Naturally, your local capital expenses would go down. However, that locks you into a permanent subscription model far more objectionable than Adobe’s or Microsoft’s.
Agreed. Working “in the Cloud” sounds really slick until you have tried it. And I did (-:
The “Cloud” is nothing but a physical hard drive that you rent at a separate facility than yours. Comfortably working together over the web requires very fast internet connections on every end of the workflow, so it costs you much more than the drive rent alone. Besides this, I would never trust my valuable media to anyone outside of my company. So you do need to also have all your media stored locally before you even can think of working “in the Cloud”. Forward-thinking is great, as long as you keep both feet on the ground and not in the clouds (-:
– Ronny
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Great info, Tom. I agree this is an important update. See you at IBC!
– Ronny
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Thank you for the info, Jari. This is great news for all the people I know who use FCP X for editing and who prefer Baselight over Resolve because of its realtime operation. See you at IBC!
– Ronny