Russell Lasson
Forum Replies Created
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[Jeremy Garchow] “Don’t forget improved XML handling with AUX tc. That’s huge. “
We can use AUX tc now! Sweet! I’ve got to keep digging.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
As a note, LiveType is still included in Final Cut Express (probably where it belongs too).
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Michael Sacci] “[Russell Lasson] “ProRes 444444444 codec”
there sure are a lot of 4s in there! “After saying “four” three times, I forget how how many times I’ve said it. I just keep going until it feels right to stop.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Erik Lindahl] “Where are the updated uncompressed formats? Where are the uncompressed formats with alpha support? Where are the greater range of RGB codecs? Why not introduce an uncompressed 4:4:4 codec similar to that of ProRes?”
ProRes 4444444 is superior to the uncompressed formats as it is a 12-bit codec with an alpha channel. We should be even able to do ProRes 4444 at 4K, though it won’t play with realtime fx in fcp. I’ll have to play with that.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Erik Lindahl] “- The new “speed tools” in FCP is to be honest a joke. The rendering quality is so poor that no one in their right mind will use it. We are still forced with clumbersume round-trips to After Effects, Motion or Shake. “
I might suggest that FCP is an editing program and not a Special Effects program like the three other programs you mention. I’d like to see those programs to a trim edit.
[Erik Lindahl] “- It’s very nice they develop the ProRes codec but it’s about time they look into Uncompressed alternatives (why can’t we get a 4:4:4:4 uncompressed workflow?). Where is a higher than 8-bit RGB workflow or some RT-effects working with uncompressed RGB files? Or perhaps an uncompressed format that has alpha-channel support?
“The 8-bit RGB limitation has likely been addressed as the ProRes 444444444 codec is a 12-bit RGB or YUV codec. Get that? 12-bit! How cool is that. I’ll take 12-bit and lossless at a sixth of the size over a 10-bit uncompressed codec anyday.
[Erik Lindahl] “- Get on the multi-core wagon already! Give us true background EVERYTHING (Rendering, Importing, Exporting and Processing of effects) “
Background exporting through Compressor is a great step. I do agree that the more the background stuff the better though:)
[Erik Lindahl] “- Where is the Shake replacement? No, Motion is not the answer. “
I wonder the same thing, but I’m not a compositor/FX guru so I don’t lose sleep over it. Sounds like many companies are moving to NUKE.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Could be a dropped frame in the footage. Try opening the clip up in REDAlert and transferring it that way. Also look at the RED forum as this has been discussed. Don’t remember how it turned out.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Thanks!
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
With FCP7, I’d look at transferring your footage to ProRes Proxy for editing, then when you’re done, just transfer the footage used from your original AVCHD files to any higher end ProRes. Should be something like Batch Transfer. Should save you quite a bit of space.
ProRes HQ is close to 30MB/sec while ProRes Proxy is just 2-4MB/sec! That will really reduce your file sizes for editing. Any Batch Transferring should be a breeze!
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Trevor Ward] “I’m using the new AVCHD format.”
I might suggest using ProRes LT instead. It probably has more than enough latitude to keep all the information that AVCHD has. And it will be much smaller than HQ, SQ, or 4444444444444.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Shane Ross] “The big thing here is FULL RASTER. Like Mark said, OFFLINE RT was the offline codec for FCP, but the issue was twofold…1) 320×240, so all of the graphics and subtitles you did had to be scaled and futzed with in the online, and 2) no playback on an external monitor via firewire…with a capture card you could (I think). But now with a full raster offline codec like that…nice. “
EXACTLY!!! An offline 320×240 file was a big turn off for me. It think that people are really thinking that this ProRes Proxy will look like crap. It won’t! It’s going generally take a trained eye and a good monitor to even distinguish it from the other ProRes flavors. Clients will hardly know the difference.
What’s to be determined is how easy it is to online to a higher ProRes from the Proxy version. Should be something like the Batch Transfer that can be used with RED files currently.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net